Die vorliegende Arbeit versteht sich als eine Einführung in den systematischen Teil des Werkes in das, was über die Buchdeckelgrenzen des gleichnamigen Serienwerkes hinaus als Cassirers Philosophie der symbolischen Formen bezeichnet werden darf. Die Betonung soll dabei auf dem unbestimmten Artikel liegen: Es ist eine Weise des grundlegenden Verständnisses, die hier präsentiert wird. Sie steht im Verhältnis von Variation und Ergänzung zu den bereits vorliegenden Einführungen in Cassirers Werk; zugleich beansprucht sie aber insofern, etwas Neues und eine Alternative zu bieten, (...) als sie den Primat des Praktischen, unter dem Cassirers Kulturphilosophie steht, ernst nimmt und zum Leitfaden der Interpretation macht. (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)

This paper provides a précis of Ernst Cassirer’s concept of art as a symbolic form. It does so, though, in a specific respect. It points to the fact that Cassirer’s concept of “symbolic form” is two-sided. On the one hand, the concept captures general cultural phenomena that are not only meaningful but also manifest the way man makes sense of the world; thus myth, religion, and art are considered general symbolic forms. On the other hand, it captures the formal structures (...) and semiotic tools thanks to which meaning is constructed within each general symbolic form ; thus, in art, perspective or the golden section are well-known examples of symbolic forms, now in a narrow sense, i.e. they are means to configure parts into an organized, meaningful whole. The paper will comment on art along both these two dimensions, but its main goal is to provide with concrete examples of aesthetic symbolic forms in the narrow sense in order to show how conceptual meaning can be inscribed in the space of aesthetic intuition. (shrink)

This paper provides a précis of Ernst Cassirer's concept of art as a symbolic form. It does so, though, in a specific respect. It points to the fact that Cassirer's concept of "symbolic form" is two-sided. On the one hand, the concept captures general cultural phenomena that are not only meaningful but also manifest the way man makes sense of the world; thus myth, religion, and art are considered general symbolic forms. On the other hand, it captures the formal structures (...) and semiotic tools thanks to which meaning is constructed within each general symbolic form (Cassirer called these structures "modes of objectivation"); thus, in art, perspective or the golden section are well-known examples of symbolic forms, now in a narrow sense, i.e. they are means to configure parts into an organized, meaningful whole. The paper will comment on art along both these two dimensions, but its main goal is to provide with concrete examples of aesthetic symbolic forms in the narrow sense in order to show how conceptual meaning can be inscribed in the space of aesthetic intuition. (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)

Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity.

Perspective, Symbol, and Symbolic Form: Concerning the Relationship between Cassirer and Panofsky During the last two decades of the twentieth century, there was a sudden surge of interest in Ernst Cassirer’s major work, The Philosophy of Symbolic Forms (1923–29), and Erwin Panofsky’s essay, ‘Perspective as Symbolic Form’ (1927), an interest that has continued uninterrupted to the present day. Particularly amongst art historians, however, a serious misunderstanding remains evident here – the confusing of ‘symbolic form’ with ‘symbol’. Cultural and perceptual mediations, (...) in which objects (and subjects) are only just in the process of forming, are carelessly turned into arbitrary, isolated objects of art history or pictorial history. Every work, in this view, is regarded as a ‘symbolic form’ to the extent that a representation of the world is ‘expressed’ in it. This article initially reviews Panofsky’s essay in order to establish the context in which the art historian uses the term ‘symbolic form’. His use of it is then compared with Cassirer’s original understanding of the term. A careful distinction is made between ‘symbol’, ‘symbolic pregnance’, and ‘symbolic form’, and this is followed by an analysis of scattered remarks in Cassirer’s writings, and particularly in his posthumous manuscripts and notes, on ‘art’ as symbolic form and on the spatial form that is prior to all perception and art production, as well as his call for a kind of art history that conceives of itself as a scholarly discipline. The article concludes with the recognition that Panofsky not only deliberately, but justifiably – that is, in the spirit of Cassirer, at least – transferred the expression ‘symbolic form’ to ‘perspective’. (shrink)

In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...) two parts. In the first, it tries to assess the exact meaning of the ‘pictorial’/’iconic turn’, and (re)places it into the context of Anglo-American visual studies and German Bildwissenschaften. It the second, it addresses the famous claim by the philologist Ernst Robert Curtius that ‘image sciences are easy’ by advocating for three ‘turns of the screw’ to make visual studies more difficult: a shift from iconology to symptomatology, a shift from extensive to intensive and a shift from the indicative to the subjunctive. (shrink)