An läßlich der I 00. Wiederkehr des Geburtstages von Ludwig Wittgenstein, dem wohl bedeutendsten Philosophen unseres Jahrhunderts und Namensgeber der veranstaltenden Gesellschaft, wurde das 14. Internationale Symposium in Kirchberg gänzlich unter die programmatische Perspektive einer Neubewertung seiner Philosophie gestellt. Dem Anlasse entsprechend war dieses Symposium das weitaus größte aller bisherigen mit nahezu 600 Teilnehmern und 230 Vorträgen. Nur 138 davon konnten in die Akten des 14. Symposiums aufgenommen werden, dietrotzdieser Auswahl über 1000 Seiten stark wurden. Wegen dieses außerordentlichen Umfangs ist (...) es nötig, die Akten diesmal auf drei Bände aufzuteilen. Der erste Band enthält eingeladene Vorträge, gegliedert nach fünf Themenschw- punkten: Zur Philosophie der Traktatperiode Zur Philosophie von Logik und Mathematik Zur Übergangsperiode der Dreißigerjahre Zur Aufgabe der Philosophie Zur Ethik und Religion. Freilich wäre es eine Übertreibung zu behaupten, daß alle Beiträge im vollen Wortsin ne eine Neubewertung von Wittgensteins Philosophie veranschaulichen. Aber der Ten denz nach exemplifizieren die gesammelten Texte den Stand der gegenwärtigen Wittgen stein-Interpretation sehr deutlich. Waren in den ersten Jahren nach seinem Tode und der Publikation der nachgelassenen Schriften die Bemühungen zunächst auf die sprachphi losophischen Aspekte der Philosophischen Untersuchungen, das Privatsprachenproblem und den Neuerungen nach der Traktatperiode gerichtet, so zeigten sich seit den Siehziger jahren Tendenzen zur Vereinheitlichung. So entstand in den letzten Jahren ein zuneh mend differenzierteres Bild sowohl der Entwicklung von Wittgensteins Philosophie als auch der Rolle von Logik, Bedeutung und Bezug sprachlicher Zeichen im Gesamtkonte. M der Lebensformen. (shrink)

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

Language and imagination play a prominent role in Merleau-Ponty’s early reflections on literature. The “literary use of language” is opposed to usual or ordinary language, and it is also assigned the task of rejuvenating the latter. Merleau-Ponty is here openly inspired by Saussure and more secretly by Bergson. Poetic language is said to effect a coherent deformation of a linguistic code and to liberate signifiers from their subordination under a subjective meaning that directly refers to external objects. Literature also illustrates, (...) in exemplary fashion, the creative power of imagination and the effective force of fictions. This is where the discussion with Sartre comes into the picture. The article explores, in particular, what personal identity and the meaning of real facts owe not only to language but also to the imagination of possibilities. It further investigates the different notions of truth that apply to literary works of art. Literature is also shown to undermine the conception of the relation between fact and meaning, actuality and possibility, reality and fiction, truth and semblance in terms of dual oppositions. Most importantly, literary fictions and narratives can make a real change in the life of writers and readers by unfolding their unrealized personal potentialities, by refining their emotional sensibility, and by distancing them from themselves. In all this, an imaginative mode of ‘projection’ plays a central role. Le langage et l’imagination jouent un rôle de premier plan dans les réflexions de Merleau-Ponty sur la littérature. « L’usage littéraire du langage » est opposé au langage usuel ou ordinaire, et la tâche lui est également dévolue de rajeunir ce dernier. Merleau-Ponty s’inspire ouvertement de Saussure et plus secrètement de Bergson. Le langage poétique est dit effectuer une déformation cohérente du code linguistique et libérer les signifiants de leur subordination à une signification subjective qui réfère directement aux objets externes. La littérature illustre également, de manière exemplaire, la puissance créatrice de l’imagination et la force effective de la fiction. Ici la discussion avec Sartre entre en jeu. Mon article explore en particulier ce que l’identité personnelle et la signification des faits réels doit non seulement au langage, mais également à l’imagination des possibilités. Il discute également les différentes notions de vérité qui s’appliquent aux oeuvres d’art littéraires. Je montre aussi que la littérature empêche de concevoir comme des oppositions duelles les relations entre fait et signification, actualité et possibilité, réalité et fiction, vérité et vraisemblance. Par dessus tout, les fictions et narrations littéraires peuvent provoquer de réels changements dans la vie des écrivains et des lecteurs en déployant leurs potentialités personnelles non réalisées, en affinant leur sensibilité émotionnelle et en se distanciant d’eux-mêmes. Dans tout cela, le mode imaginatif de la projection joue un rôle central.Linguaggio e immaginazione rivestono un ruolo centrale nelle prime riflessioni di Merleau-Ponty sulla letteratura. L’“uso letterario del linguaggio” viene opposto al linguaggio ordinario o quotidiano e al primo viene inoltre assegnato l’incarico di rinnovare il secondo; in questo, Merleau-Ponty si ispira apertamente a Saussure e, in modo meno manifesto, a Bergson. Il linguaggio poetico è ritenuto in grado di imprimere una deformazione coerente a un determinato codice linguistico e di liberare i significanti dalla loro subordinazione a un significato soggettivo che si riferisce direttamente a oggetti esterni. La letteratura, inoltre, illustra in modo esemplare il potere creativo dell’immaginazione e la forza effettiva della finzione letteraria. È qui che entra in gioco la discussione con Sartre. Questo articolo esplora, in particolare, ciò che l’identità personale e il significato dei fatti reali debba non solamente al linguaggio, ma anche all’immaginazione delle possibilità; indaga inoltre le diverse nozioni di verità che possono essere applicate all’opera d’arte letteraria. L’articolo mostra poi come la letteratura possa mettere in discussione il carattere di opposizione binaria della relazione tra fatto e significato, attualità e possibilità, realtà e finzione, verità e verisimiglianza. In maniera significativa, le finzioni e le narrazioni letterarie possono cambiare la vita di scrittori e lettori svelando le loro potenzialità personali irrealizzate, raffinando la loro sensibilità emotiva e ponendoli a distanza da se stessi. In tutto questo, una modalità immaginativa di “proiezione” svolge un ruolo di primaria importanza. (shrink)

This chapter discusses and examines the deconstructive practice of Tiantai contemplation from a philosophical point of view. The scope of this examination embraces all the Tiantai doctrines that describe the dynamics and epistemological nature of ultimate realization, called “subtle awakening”, as well as all the relevant Buddhist sources based on which Tiantai master Zhiyi developed this type of “contemplation”. According to the Tiantai view, epistemological and ontological issues coincide with one another, since contemplation entails our insight that “truth and falsehood (...) are inseparable” concerning the way we relate to and exist in our world. Therefore, the introduction deals with the question of the specific sense in which Tiantai contemplation must be grounded in deconstructive practice. The subsequent two sections, and, elaborate the epistemological and soteriological implications of this Buddhist teaching; section and discuss its linguistic pragmatics; and highlight the ontological and hermeneutical issues, and elaborates on the Tiantai philosophy of mind. (shrink)

The discourse on epistemological, ontological, and linguistic issues in the Zhuangzi and in Guo Xiang’s commentary influenced Sengzhao’s reception and interpretation of Indian Madhyamaka thought introduced to the Chinese literati by Kumārajīva, the famous translator from the Wei Jin period and Sengzhao’s Buddhist master.This article explores the philosophical conditions and conceptual affinities based on which early Madhyamaka thought in China integrates Daoist and Xuanxue terms into its own conceptual framework and further develops into the indigenous Buddhist schools of the Tiantai (...) and Sanlun traditions. After examining some key terms, such as nature, thing, name, knowing, from the Zhuangzi and Guo Xiang’s commentary, this article further analyzes Sengzhao’s reinterpretation referencing the soteriological context of Buddhist “liberation.”. (shrink)

Die MISCELLANEA MEDIAEVALIA präsentieren seit ihrer Gründung durch Paul Wilpert im Jahre 1962 Arbeiten des Thomas-Instituts der Universität zu Köln. Das Kernstück der Publikationsreihe bilden die Akten der im zweijährigen Rhythmus stattfindenden Kölner Mediaevistentagungen, die vor über 50 Jahren von Josef Koch, dem Gründungsdirektor des Instituts, ins Leben gerufen wurden. Der interdisziplinäre Charakter dieser Kongresse prägt auch die Tagungsakten: Die MISCELLANEA MEDIAEVALIA versammeln Beiträge aus allen mediävistischen Disziplinen - die mittelalterliche Geschichte, die Philosophie, die Theologie sowie die Kunst- und Literaturwissenschaften (...) sind Teile einer Gesamtbetrachtung des Mittelalters. (shrink)

Die grundlegende Bedeutung von Zahlenverhaltnissen in der Harmonik macht eine Annaherung an harmonikale Denkweisen auf dem Wege der Mathematik durchaus einleuchtend. Insbesondere die Geometrie birgt in ihrer reichen Figurenwelt manche anschauliche Entsprechung fur harmonikale Verhaltnisse (Dreieck, Quadrat und Kreis, aber auch Wurfel, Pyramide, Kegel und Kugel). Der Verfasser weitet dann aber seine Betrachtungen auch in die Gebiete der exakten Naturwissenschaften, der Biologie und Anthropologie aus, wobei er auch hier zu einem guten Teil auf eigene Beobachtungen und Forschungsergebnisse zuruckgreifen kann. Wenn (...) der Abschnitt uber die Kunste (Musik, Bildende Kunst und Architektur) im Verhaltnis zum mathematisch-naturwissenschaftlichen Teil wesentlich kurzer ausgefallen ist, so keineswegs, weil es hier an Material fehlte. Der Weg, den Rudolf Stossel in dieser Schrift weist, ist in seinem Fortschreiten von den -abstrakten- Konstruktionen der Geometrie zu den Gesetzmassigkeiten der Natur und schliesslich zur menschlichen Kunstschopfung durchaus folgerichtig, aber wohl nicht fur jeden Leser der leichteste. Wer sich jedoch vor dem massvollen Umgang mit Zahlen und Formeln nicht abschrecken lasst, wird den Gedankengangen des Verfassers mit Interesse folgen und manche wertvolle Einsicht daraus gewinnen.". (shrink)

Uma leitura atenta de Para lá do Princípio de Prazer de Freud sugere que o mecanismo da repetição cega, a oposição a toda a mudança e uma vontade niilista em afirmar o seu próprio poder excessivo caracterizam todas as pulsões. O que distingue as pulsões de morte das outras pulsões deve ser procurado noutra coisa, tal como uma forma particular de prazer ou destruição agressiva. Apesar do seu regresso a Freud, Lacan dá conta de uma nova imagem do mecanismo de (...) repetição. Quer aquilo que se repete seja a expressão de um trauma quer seja de um desejo inconsciente, a repetição ameaça sempre o princípio de prazer e a sua gestão por um ego imaginário. Para Lacan, a repetição descontrolada apela insistentemente à instituição de um sujeito cujo desejo simbolicamente determinado se situa para lá do curso natural de um princípio de prazer. (shrink)

In the history of scholastic philosophy, the fifteenth century is traditionally regarded as a period of decay, a downturn between the heights of fourteenth-century nominalism and the Spanish revival of scholasticism in the sixteenth century. This paper sets out to challenge this received view. First, however, the received view is confirmed on the basis of sixteenth-century lists of ecclesiastical writers containing very few notable scholastic philosopher-theologians for the fifteenth century. On the other hand, the same lists show a significant increase (...) in notable scholastics in the fields of practical ethics and jurisprudence. The overall picture signals a shift of philosophical and theological activity from theoretical towards practical concerns. If practical philosophy is not considered to be of lesser rank than theoretical philosophy, there was thus no downturn of scholastic philosophy in the fifteenth century. (shrink)

The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...) not exist in the mind a further and higher active faculty capable of shaping these images and of correcting the errors that derive from sensory experience. A century later Leibnitz spoke of two levels of clear cognition.1 Reasoning was cognition of the higher degree: it was distinct, that is, it could analyze things into their components. Sensory experience, on the other hand, was cognition of the lower order: it also could be clear but it was confused, in the original Latin sense of the term; that is, all elements fused and mingled together in an indivisible whole. Thus artists, who rely on this inferior faculty, are good judges of works of art but when asked what is wrong with a particular piece that displeases them can only reply that it lacks nescio quid, a certain "I don't know what." · 1. Leibnitz, Nouveaux essais sur l'entendement humain , bk. 2, chap. 29. Rudolf Arnheim is the author of Art and Visual Perception: A Psychology of the Creative Eye, Toward a Psychology of Art, The Dynamics of Architectural Form, and Visual Thinking. His previous contributions to Critical Inquiry are "On the Nature of Photography" and "A Stricture on Space and Time". (shrink)

For Freud, the pleasure principle is a fundamental principle of the psychische Geschehen, holding the same import as the reality principle. Properly speaking, the pleasure principle is the principle par excellence of the psychic processes, for without it, it would not be necessary to promote the recognition of reality to the status of a "principle." [...] it is given in a totally different way, as that principle immediately familiar to everyone, which is designated by the word will. It is easy (...) to understand why this conception of a double experience of the body as will and as representation constitutes a crucial pivotal point in Schopenhauer's metaphysical system. (shrink)