This volume of essays deals with values and their place in the humanities. Professor Gombrich argues for the ideals of tolerance and pluralism and against the idols of determinism and relativism that would threaten all culture.

Sir Ernst Gombrich and the Barber from Tuscany In the spirit of Sir Ernst Gombrich, this essay uses an anecdote—a chat between Gombrich and a barber from Tuscany—to illustrate a deeper point, namely, how cultural memory, tradition, and a canon give rise to an implied language of culture and cultural value. Gombrich staunchly defended tradition against relativism. By relativism, he meant something like "radical subjectivism." To his mind, subjectivism (in the cultural and social sense (...) of the term) is not only impossible, since meaning is conferred through culture and society, but it is also dangerous (in the cultural and ethical sense of the term), since it denies the existence of shared values. Against consensus on the one hand and radical subjectivism on the other, Gombrich advocated a middle way: criticism and self-criticism to ensure latitude; the search for "truth" to ensure a limited plurality of interpretations. (shrink)

Pourquoi l’humanité manifeste-t-elle « le besoin universel de […] couvrir les choses de points et de volutes, de damiers et de motifs floraux »? Ernst Gombrich place la somme qu’il consacre à l’ornement ( The Sense of Order, 1979, inédit en français) sous le signe de cette question. Le souci de remonter au fondement du geste ornemental l’amène ainsi, conformément à l’esprit général de son entreprise intellectuelle, à enraciner son histoire des arts décoratifs dans la psychologie, et au-delà (...) encore, dans la biologie. Après une présentation qui situe l’ambition explicative de Gombrich, nous donnons ici la traduction de l’introduction de cet ouvrage majeur sur l’ornement. (shrink)

Der Kunsthistoriker Ernst Hans Josef Gombrich hat einen „wissenschaftlichen“ oder kognitiven Ansatz zur Erforschung der Geschichte und Psychologie der Künste entwickelt, der sehr maßgeblich von der Wissenschaftstheorie seines engen Freundes Karl Popper beeinflusst worden ist. Die geistige Nähe zwischen beiden wird in Gombrichs zentraler Arbeit zur Wiederentdeckung der Repräsentation in der Renaissance und zur Historiografie der Kunst deutlich. Ihre Differenzen verdienen allerdings ebenfalls Beachtung. Gombrichs Ansicht zufolge verändern sich Geschmack und Stil entsprechend der von ihm so genannten „Logik (...) der Mode“. Gombrich hat dargelegt, auf welch vielfältige Weise Veränderungen in der Kunst sich vollziehen. Während sich die Moden in der Kunst auf unvorhersehbare, launenhafte Weise wandeln, tauchen technische Veränderungen als Lösungen für technische Probleme auf und werden im Modus von Versuch und Irrtum ermittelt. Auf diese Weise stieß Gombrich auf eine Antinomie in der Kunsttheorie: Handwerkliche Fähigkeiten und Können wandeln sich durch rationalen Fortschritt, während sich Stile durch den irrationalen Mitläufereffekt verändern. In der Kunst ist der relativistische Pluralismus zur Mode geworden, und diese Mode hat seine Antinomie ignoriert – und zwar, sofern er richtig liegt, recht willkürlich. (shrink)

That Ernst Gombrich was one of the most important art historians of the 20th century would seem to go without saying. And so one might expect him to feature prominently in the numerous surveys, guides and introductions to the history and methods of art history produced during the past two decades. Precisely the opposite, however, is the case. One reason for this certainly was that Gombrich was an avowed enemy of 'big ideas', interested not in generalizations but (...) in the specifics of individual cases. Avoiding jargon or rhetoric, standing for 'common sense', he always argued from clear premises, and his thought was also very wide-ranging. He never 'owned' a subject, remarking It cannot be too often repeated that the best tribute one can pay a scholar is to take him seriously and constantly to reappraise his lines of argument.The importance of Gombrich's work on the history of taste has yet to be fully recognized, and when it comes to the application of developments in psychology to the visual arts he has remained largely, among art historians, on his own. These essays assess the nature of his empiricism, the degree to which his ideas have been adopted, overturned or developed, and his contribution to the dialogue of art and perception. (shrink)

Cold-War Twins: Mikhail Alpatov's a Universal History of Arts and Ernst Gombrich's the Story of Art This article deals with the "afterlife" of a methodological disagreement in the Vienna School of Art History between the positions of Alois Riegl and Julius von Schlosser in Mikhail Alpatov's and Ernst Gombrich's art history survey texts published during the Cold War on different sides of the Iron Curtain. Though these surveys are methodological antipodes, the difference itself, I argue, is (...) possible only within the framework of the larger art historical discourse they share. In addition, I will draw on the radical ideological critique of Alpatov's survey inside the Soviet Union and the case of the Stalinist survey meant to replace it, in order to address the ideological commonality between Alpatov's and Gombrich's surveys. (shrink)

Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worthy of consideration.

Che cosa vediamo quando vediamo un’immagine? Con Arte e illusione, pubblicato nel 1960, Ernst H. Gombrich è stato il primo a indagare a fondo l’effetto che hanno su di noi le immagini figurative. Alla sua indagine, concepita nell’ambito della storia delle arti pittoriche, si sono successivamente affiancati molti studi in vari contesti di ricerca, dalla psicologia della visione all’estetica analitica, dalla semiotica ai visual studies. Questo studio si concentra su quei nuclei teorici della proposta di Gombrich che (...) suscitano l’interesse dei filosofi e sulla fortuna di alcune idee di Gombrich, specialmente nel dibattito di area analitica. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth (...) century, the issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth (...) century, the issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, (...) tanto en el mundo del pensamiento como en el mundo burocrático de las instituciones universitarias. (shrink)

Esito di un convegno tenutosi a Roma nel 2003, i saggi raccolti in L’arte e i linguaggi della percezione offrono una variegata panoramica delle posizioni maturate nel dibattito intorno al programma epistemico di Ernst H. Gombrich, prendendo in esame non soltanto gli aspetti più squisitamente filologici della sua biografia intellettuale — la formazione, i rapporti con la scuola di Vienna, la complicata relazione con Warburg e la scuola iconologica — ma anche i fondamenti filosofici del suo pen...

This article explores parallel tendencies in Ludwig Wittgenstein’s and Ernst Gombrich’s thinking that aimed to dissolve misconceptions about mind, culture, and art that emerged in modernity but that continue to influence current art education. Section one gives an overview of Wittgenstein’s and Gombrich’s therapeutic projects, which drew on perspicuity and genealogy to eliminate confusions in thinking, rather than advance new theories. The second section illustrates Wittgenstein’s and Gombrich’s curative response to modern misconceptions about mind and culture. (...) The analysis is extended in a thematic way to dissolve similar misconceptions that prevail in current art education. The aim of the article is to provide conditions for sustaining better practices of art education. (shrink)

A collection of essays written in affectionate tribute to Gombrich.

This article examines how modern Chinese Buddhism has been influenced by Christianity. For our purposes ‘modern Chinese Buddhism’ refers to a form of what has become known in the West as ‘Engaged Buddhism’, but in Chinese is known by titles which can be translated ‘Humanistic Buddhism’ or ‘Buddhism for Human Life’. This tradition was initiated on the Chinese mainland between the two World Wars by the monk Tài X?, and Part one of the article is devoted to him. Since the (...) communist conquest of China, its main branches have flourished in Taiwan, whence two of them have spread worldwide. The most successful, at least in numerical terms, has been Fo Guang Shan, founded by a personal disciple of Tài X?, Hsing Yun, now very old, and it is on this movement that we concentrate in Parts two and three. We differentiate between conscious imitation and analogous development due to similar social circumstances, and show how Protestant Christianity and Roman Catholicism have had different effects. In Part four, we examine Fo Guang Shan as a missionary religion. (shrink)

This collection of revised and new essays argues that biology is an autonomous science rather than a branch of the physical sciences. Ernst Mayr, widely considered the most eminent evolutionary biologist of the 20th century, offers insights on the history of evolutionary thought, critiques the conditions of philosophy to the science of biology, and comments on several of the major developments in evolutionary theory. Notably, Mayr explains that Darwin's theory of evolution is actually five separate theories, each with its (...) own history, trajectory and impact. Ernst Mayr, commonly referred to as the "Darwin of the 20th century" and listed as one of the top 100 scientists of all-time, is Professor Emeritus at Harvard University. What Makes Biology Unique is the 25th book he has written during his long and prolific career. His recent books include This is Biology: The Science of the Living World (Belknap Press, 1997) and What Evolution Is (Basic Books, 2002). (shrink)

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. Cassirer's thought also anticipates the renewed interest in the origins of analytic and continental philosophy in the Twentieth Century and the divergent paths taken by the 'logicist' and existential traditions, epitomised by his now legendary debate in 1929 with the philosopher Martin Heidegger, (...) over the question "What is the Human Being?" The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation of all three volumes, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Taken together, the three volumes of The Philosophy of Symbolic Forms are a vital treatise on human beings as symbolic animals and a monumental expression of neo-Kantian thought. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

In this book the author analyzes the work of physicists, mathematicians, biologists, historians, and philosophers in order to discover the principles that underlie their various ways of knowing and in terms of which they describe the ...

While visiting a friend's family in Cornwall during the traditional May Day celebrations, eighteen-year-old Laura becomes involved in an old family mystery concerning the disappearance of ancient heirlooms.

Die erste systematische Schrift, die Ernst Cassirer veröffentlicht hat, ist das Buch »Substanzbegriff und Funktionsbegriff« von 1910, in dem er sich mit dem Problem der mathematischen und naturwissenschaftlichen Begriffsbildung auseinandersetzt. Als »Faktum« legte er den damaligen Stand der Wissenschaft zugrunde, der das klassische System der Physik noch als unbestritten galt. Mit den Fortschritten der Wissenschaften, in diesem Fall der Entwicklung der theoretischen Physik, muss die Erkenntniskritik Schritt halten. Und so drängten sich im Laufe der Zeit neue Fragen auf, die (...) der philosophischen Behandlung bedurften. Aus dieser Motivation heraus veröffentlichte Cassirer 1920 die Schrift »Zur Einsteinschen Relativitätstheorie« (ECW Bd. 10), in der er sich mit der Um- und Neubildung der modernen Physik durch die allgemeine und spezielle Relativitätstheorie beschäftigt. Um dem philosophischen Ideal der methodischen Analyse und erkenntniskritischen Grundlegung gerecht zu werden, ergab sich jedoch die Notwendigkeit, auch die Auswirkungen der Quantentheorie in die Reflexion mit einzubeziehen. Den historischen Ursachen und systematischen Gründen der Sprengkraft, die die Quantentheorie auf dem ganzen Gebiet der Physik entwickelte, geht Cassirer in der Schrift »Determinismus und Indeterminismus in der modernen Physik« nach, die er 1936 abschließt. (shrink)

1.t. Die Sprache. --2.t. Das mythische Denken. --3.t. Phänomenologie der Erkenntnis.

Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. (...) The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book. (shrink)

An 'Essay on man' is an original synthesis of contemporary knowledge, a unique interpretation of the intellectual crisis of our time, and a brilliant vindication of manís ability to resolve human problems by the courageous use of his mind.

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - (...) of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Volume 1: Language is a fascinating examination of arguably the most fundamental of these systems of expression: human language. Cassirer traces the problem of language and expression far back in the history of philosophy, considering the work of the early Greek rationalists. He then examines the later empiricist tradition, up to the romantic tradition in the nineteenth century tackling fundamental questions about representation, signification and expression as well as language and conceptual thought in mathematics and science. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

Bloch's The Spirit of Utopia, here presented for the first time in English translation, is one of the great historic books from the beginning of the twentieth-century. A peculiar amalgam of biblical, Marxist, and Expressionist turns, drawing on both Hegel and Schopenhauer for the groundwork of its metaphysics of music, but consistently interpreting the cultural legacy in the light of a certain Marxism, The Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process (...) of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The first part concerns a mode of 'self-encounter' which presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. The second part is entitled 'Karl Marx, Death and the Apocalypse'. (shrink)

In this contribution, an overview of the distinct ways in which the interplay between knowledge, values, and beliefs took shape in the South African context since 1948 is offered. This is framed against the background of the paleontological significance of South Africa and an appreciation of indigenous knowledge systems, but also of the ideological distortion of knowledge and education during the apartheid era through the legacy of neo-Calvinism. The overview includes references to discourse on human rationality, on the use of (...) social sciences in theological reflection, on the teaching of evolution in public schools, on science and religion, and on religion and ecology. The essay concludes with a survey of some of the major voices regarding the interface between religion and science in South Africa. (shrink)

A great contemporary German philosopher attacks the explosive problem of political myth in our day, and reveals how the myth of the state evolved from primitive times to prepare the way for the rise of the modern totalitarian state. "A brilliant survey of some of the major texts in the history of political theory."—Kenneth Burke, _The Nation._.