En el presente trabajo se reflexiona el proceso de construcción del autoconocimiento propuesto por Ernst Cassirer. El objetivo es identificar la tensión entre la vida y espíritu como su antítesis básica y a las mediaciones simbólicas como el recurso cultural que posibilita la formación de un autoconcepto. A través de una revisión crítica de la Philosophie der symbolischen Formen y An Essay on Man, se sostendrá que, i) el autoconocimiento es un proyecto tríadico que integra cada fase previa, ii) que (...) requiere una investigación funcional de la obra y cultura humana para iii) sostener una tensión que distingue sin separar al agente como ser vivo y su autoconocimiento como un producto espiritual. (shrink)

Cassirer’s philosophy of culture has been examined through various disciplines. Until now, however, no such assessment has taken place within the field of economics. In this paper, I attempt to develop this unexplored task through the economic concepts of commodity, money, capital, and culture. I argue that these concepts can help to draw an updated concept of capitalism and power relations created through capitalist planning. I also claim that these concepts can contribute to understanding the historical specificity of capitalist culture, (...) by understanding it as an historical process of social production. I conclude that these concepts are able to defy Cassirer’s view of capitalism as a system in which economic prosperity and political liberty could be achieved in a universal manner. Finally, I demonstrate that these concepts can shed light on Cassirer’s failed quest to find a coherent universal culture within capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 51-64 MuseSearchJournalsThis JournalContents[Access article in PDF]Art as Symbolic Form: Cassirer on the Educational Value of ArtThora Ilin BayerIntroductionAmong the papers that Ernst Cassirer left at his death in 1945 is a fully written out lecture labeled "Seminar of Education, March 10th, 1943," which also bears the title "The Educational Value of Art." It may have been prepared for a session of Cassirer's (...) seminar at Yale for that spring on Aesthetics: Symbolic Forms, the second half of a yearlong course. 1 The text begins with discussion of the Platonic quarrel with the poets and moves through views of various thinkers, especially Croce and Collingwood. Cassirer had planned to have a volume on art included in The Philosophy of Symbolic Forms, in addition to those on Language,Mythical Thought, and The Phenomenology of Knowledge. 2 In these three volumes he often mentions the triad of language, myth, and art, but he says little of art as such.In May 1942 in a letter to Paul Schilpp, the American philosopher and editor of the volume of critical essays on Cassirer's work in the Library of Living Philosophers series, Cassirer wrote that he had intended to produce a volume on art but the disfavor (Ungunst) of the times caused him to put it off again and again. 3 The principal sources of Cassirer's aesthetics are his chapter on art in An Essay on Man 4 and two lectures on the educational value of art called "Language and Art I & II," 5 which parallel his earlier small study, Language and Myth. 6 Cassirer's conception of art as a symbolic form is derived from his conception of human culture as a systematic structure of symbolic forms that has as its main components myth and religion, language, art, history, and science (the chapter titles of the second part of An Essay on Man). In addition to these forms of culture there is a "metaphysics of symbolic forms," the subject of a fourth volume of The Philosophy of Symbolic Forms, left in manuscript at his death. 7 [End Page 51]I wish to raise two questions: (1) How does Cassirer conceive of art as a symbolic form? and (2) What are the implications of his conception for a conception of the ideals of aesthetic education? My aim in pursuing these questions is not to argue for the correctness of Cassirer's views but to attempt to establish what his views in fact are. Little has been written directly on Cassirer's conception of art relative to the frequency with which his name is mentioned in general discussions of aesthetics. 8 Cassirer's conception of education is a nearly unexamined subject. 9The Platonic Quarrel: MimesisCassirer says: "Of all the problems that we have to study in a philosophy of education, the problem of the educational value of art is one of the most difficult ones." 10 He claims that this problem goes back to the beginning of philosophy itself and that at present we are still very far from a generally accepted solution. Plato's famous quarrel with the poets in the tenth book of the Republic is important not simply for an understanding of ancient aesthetics but also for philosophy's conception of itself.The basic tenets of this quarrel are well known. I wish to review them here toward the goal of suggesting an original view of it that is derivable from Cassirer's approach. The issue is whether poetry or philosophy is the means to truth. The works of Homer had scriptural status for the Greeks and were thought to contain all that was necessary for civil wisdom. Poiein is to make and compose poetry. The ancient poet is a maker of truth claims through language. The quarrel rests on the fact that the philosopher is also a maker of truth claims formulated in words. Is the relatively new figure in Plato's time of the philosophos, the friend or lover... (shrink)

The condition of explicit theoretically discursive cognitive performance, as it culminates in scientific activity, is, I claim, the life world. I contrast life world and scientific world and argue that the latter arises from the first and that contrary to the prevailing views the scientific world (actually, worlds, since the classical world is substantially different from the quantum world) finds its completion in the life world and not the other way around. In other words: the closure we used to search (...) in a complete and comprehensive scientific description of all aspects of experience by referring it back to underlying atoms, genes and other scientific objects and the covering laws ruling them, should be sought in a reintegrating and occasionally dissolving of the abstract scientific model in the self-organizational fluidity and superposition-like indeterminateness and non-locality of the life world: “We have to acknowledge the indeterminate as a positive phenomenon” (Merleau-Ponty in his The Phenomenology of Perception). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 51-64 MuseSearchJournalsThis JournalContents[Access article in PDF]Art as Symbolic Form: Cassirer on the Educational Value of ArtThora Ilin BayerIntroductionAmong the papers that Ernst Cassirer left at his death in 1945 is a fully written out lecture labeled "Seminar of Education, March 10th, 1943," which also bears the title "The Educational Value of Art." It may have been prepared for a session of Cassirer's (...) seminar at Yale for that spring on Aesthetics: Symbolic Forms, the second half of a yearlong course. 1 The text begins with discussion of the Platonic quarrel with the poets and moves through views of various thinkers, especially Croce and Collingwood. Cassirer had planned to have a volume on art included in The Philosophy of Symbolic Forms, in addition to those on Language,Mythical Thought, and The Phenomenology of Knowledge. 2 In these three volumes he often mentions the triad of language, myth, and art, but he says little of art as such.In May 1942 in a letter to Paul Schilpp, the American philosopher and editor of the volume of critical essays on Cassirer's work in the Library of Living Philosophers series, Cassirer wrote that he had intended to produce a volume on art but the disfavor (Ungunst) of the times caused him to put it off again and again. 3 The principal sources of Cassirer's aesthetics are his chapter on art in An Essay on Man 4 and two lectures on the educational value of art called "Language and Art I & II," 5 which parallel his earlier small study, Language and Myth. 6 Cassirer's conception of art as a symbolic form is derived from his conception of human culture as a systematic structure of symbolic forms that has as its main components myth and religion, language, art, history, and science (the chapter titles of the second part of An Essay on Man). In addition to these forms of culture there is a "metaphysics of symbolic forms," the subject of a fourth volume of The Philosophy of Symbolic Forms, left in manuscript at his death. 7 [End Page 51]I wish to raise two questions: (1) How does Cassirer conceive of art as a symbolic form? and (2) What are the implications of his conception for a conception of the ideals of aesthetic education? My aim in pursuing these questions is not to argue for the correctness of Cassirer's views but to attempt to establish what his views in fact are. Little has been written directly on Cassirer's conception of art relative to the frequency with which his name is mentioned in general discussions of aesthetics. 8 Cassirer's conception of education is a nearly unexamined subject. 9The Platonic Quarrel: MimesisCassirer says: "Of all the problems that we have to study in a philosophy of education, the problem of the educational value of art is one of the most difficult ones." 10 He claims that this problem goes back to the beginning of philosophy itself and that at present we are still very far from a generally accepted solution. Plato's famous quarrel with the poets in the tenth book of the Republic is important not simply for an understanding of ancient aesthetics but also for philosophy's conception of itself.The basic tenets of this quarrel are well known. I wish to review them here toward the goal of suggesting an original view of it that is derivable from Cassirer's approach. The issue is whether poetry or philosophy is the means to truth. The works of Homer had scriptural status for the Greeks and were thought to contain all that was necessary for civil wisdom. Poiein is to make and compose poetry. The ancient poet is a maker of truth claims through language. The quarrel rests on the fact that the philosopher is also a maker of truth claims formulated in words. Is the relatively new figure in Plato's time of the philosophos, the friend or lover... (shrink)