The historical beginnings of Ernst Cassirer’s philosophy of culture remain unclear. For it is not apparent how his major philosophy of culture and the Philosophy of Symbolic Forms, published in the 1920s, emerged from his earlier epistemological work and Substance and Function from 1910. However, this gap can be filled to a certain extent by the “Disposition” of a “Philosophy of the Symbolic” from 1917 that could be reconstructed from Cassirer’s literary estate and is documented in this contribution. In the (...) preceding “Introduction” an overview of Cassirer’s text is given and some consequences for our general understanding of Cassirer’s project of a philosophy of culture are put up for discussion. (shrink)

Il seguente lavoro si concentra su un confronto tra la filosofia di Peirce e quella di Cassirer, con particolare attenzione alla loro trattazione del problema della semiotica e della sua rilevanza in relazione alla teoria della conoscenza.

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)