As a leading member of the Vienna Circle, Rudolph Carnap's aim was to bring about a "unified science" by applying a method of logical analysis to the empirical data of all the sciences. This work, first published in English in 1934, endeavors to work out a way in which the observation statements required for verification are not private to the observer. The work shows the strong influence of Wittgenstein, Russell, and Frege.

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Avant-propos La réduction phénoménologique et la double vie du sujet I - Intentionnalité et intersubjectivité 1. Intentionnalité et transcendance (Husserl et Heidegger) 2. Le concept de noème (Husserl) 3. Le monde (Husserl) II - (...) Perception 1. Finitude et téléologie de la perception (Husserl) 2. Perception et herméneutique (Husserl, Cassirer et Heidegger) 3. Perception et vie naturelle (Husserl et Merleau-Ponty) III - Temporalité, historicité, langage 1. Origine du temps et temps originaire (Husserl et Heidegger) 2. La présence du passé (Husserl) 3. L'encadrement du souvenir (Husserl, Proust et Barthes) 4. La voix de son maître (Husserl et Derrida) Conclusion Pages de fin. (shrink)

"This book is valuable as expounding in full a theory of meaning that has its roots in the work of Frege and has been of the widest influence.... The chief virtue of the book is its systematic character. From Frege to Quine most philosophical logicians have restricted themselves by piecemeal and local assaults on the problems involved. The book is marked by a genial tolerance. Carnap sees himself as proposing conventions rather than asserting truths. However he provides plenty of matter (...) for argument."-Anthony Quinton, Hibbert Journal. (shrink)

A portrait of scholastic approaches to a qualified disagreement of opinions, focusing on the antagonism of scholastic probabilism and anti-probabilism in the early modern era.

Introducing his paper, Slezak (p. 428) proposes “to examine Botha's criticisms in detail with a view to demonstrating that they are without foundation and are based on the most fundamental misunderstandings”. Concluding his paper, Slezak (p. 439) expresses the hope that he has shown “that the conceptions on which these criticisms rest are so seriously flawed as to make it unprofitable to attempt to unravel the rest of his analysis”. These formulations, by all standards, represent rather strong rhetoric. But, as (...) the preceding paragraphs have shown, Slezak's discussion sadly lacks the relevant and accurate analyses needed to give substance to his rhetoric. (shrink)

The concept of event provides the essential bridge from the realm of virtuality of the quantum state to real phenomena in space and time. We ask how much we can gather from existing theory about the localization of an event and point out that decoherence and coarse graining—though important—do not suffice for a consistent interpretation without the additional principle of random realization.

In The Philosophical Criticism, Alois Riehl developed a realistic interpretation of Kant’s transcendental idealism based on his theory of space and time. In doing so, more than 100 years ago, he formulated an interpretation of the relation between the thing in itself and appearances that is discussed in current research as the metaphysical „dual aspect“ interpretation, although it is rarely attributed to Riehl. To reconstruct Riehl’s position, the research results of comparative studies on Moritz Schlick are systematically extended and applied (...) to the current debate on Kant’s transcendental idealism. (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

Dieser Buchtitel ist Teil des Digitalisierungsprojekts Springer Book Archives mit Publikationen, die seit den Anfängen des Verlags von 1842 erschienen sind. Der Verlag stellt mit diesem Archiv Quellen für die historische wie auch die disziplingeschichtliche Forschung zur Verfügung, die jeweils im historischen Kontext betrachtet werden müssen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ideologischen Ausrichtung vom Verlag nicht beworben.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Heidegger’s lecture course on “Parmenides” lays strong emphasis on the dimension of lethe in truth . Such a withdrawal belonging to unconcealment should not be confused with a dissembling or hiding . A concealment pertaining to the presence of a thing can be illustrated by means of a phenomenological description of oblivion, anamnesis, the rare, the gift and the secret. Especially Heidegger’s account of an “open secret” lends itself to a philosophical interpretation of Poe’s “The Purloined Letter”. Dupin recurrently meditates (...) on the right way of keeping a secret and mocks the police for confusing lethe with pseudos. Incidentally, stealing is shown to be no less a form of unconcealment than the gift. Poe’s description of how and where The Purloined Letter is openly present in the minister’s study sheds light on how a thing can remain secret by giving way to other things. (shrink)

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The leitmotif of the article is an analysis and interpretation of disputes about the nature of Slovak philosophy in the contexts of the formation of individual philosophical generations from the middle of the 19th to the middle of the 20th century. In the content core of the article, the dispute is about the nature of Slovak philosophy in the first generation of its representatives, which was represented by the followers of the so-called “Štúr School”. As a follow-up to this dispute, (...) the article analyzes the ideological confrontations of followers of religious and secular philosophical thought in Slovakia during the first Czechoslovak republic. It is a dispute between followers of classical (European) positivism and, partly, Masarykism with the representatives of contemporary religious philosophy in Slovakia. At the end of the paper, the trend of disputes about the nature of Slovak philosophy is outlined even in the period after the Stalinist, and, later, the so-called normalization indoctrination of Slovak philosophy. (shrink)