In this article, I draw an important distinction between two kinds of inquiry. “Framed inquiries” take for granted and use a conceptual framework in order to ask and answer questions, while “framing inquiries” require the creation, revision, or expansion of the conceptual framework itself in order to address the problem at hand. This distinction has been largely ignored in epistemology, and collapsed by two radically opposed philosophical camps: representationalism and antirepresentationalism. While the former takes all inquiries to be in the (...) business of discovering mind-independent facts, the latter takes all inquiries to be primarily governed by pragmatic considerations. Against the objections raised by both camps, I defend a pragmatist and substantive distinction between framed and framing inquiry, inspired by Rudolf Carnap’s distinction between internal and external questions and reformulated in terms of John Dewey’s theory of inquiry. (shrink)

As a leading member of the Vienna Circle, Rudolph Carnap's aim was to bring about a "unified science" by applying a method of logical analysis to the empirical data of all the sciences. This work, first published in English in 1934, endeavors to work out a way in which the observation statements required for verification are not private to the observer. The work shows the strong influence of Wittgenstein, Russell, and Frege.

In the paper translated here, Carnap and Bachmann shows that the apparently metalinguistic ?extremal' axioms that are added to some axiom systems to the effect that the foregoing axioms are to apply as broadly, or as narrowly, as possible may be formulated directly as proper axioms. They analyze such axioms into four fundamental types, with the help of a concept of ?complete? isomorphism.

Excerpt from Worterbuch der Philosophischen Begriffe, Vol. 1: Historisch-Quellenmassig Bearbeitet; A bis N Die Anordnung des Materials ist so getroffen worden, dafs in erster Linie die Ubersichtlichkeit des Stoffes gesichert wurde. Die logisch - systematische und die chronologisch-genetische Dispositions weise wurden nach Moglichkeit miteinander combiniert. Auf allzu subtile Einteilungen kam es hier, in einem Worterbuchs, nicht so sehr an, verfuhrt doch eine solche, die gewohnlich durch allerhand Voraussetzungen und Annahmen bedingt ist, selbst also den Charakter einer Theorie, einer Hypothese hat, (...) zur Subjectiviernug der Darstellung, wahrend doch dem Herausgeber au moglichster Objectivitat lag; diese ist denn auch von der Kritik anerkannt werden. Den eigenen Standpunkt, den der Fachmann als einen in so mancher Beziehung selbstandigen erkennen wird, hat der Herausgeber in den an der Spitze der einzelnen Artikel stehenden Begriffs. Bestimmungen zwar kurz, pracis, aber, wie er glaubt, nicht nu wissenschaftlich, entwickelt. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

Dieses historische Buch kann zahlreiche Tippfehler und fehlende Textpassagen aufweisen. Kaufer konnen in der Regel eine kostenlose eingescannte Kopie des originalen Buches vom Verleger herunterladen (ohne Tippfehler). Ohne Indizes. Nicht dargestellt. 1898 edition. Auszug:...so viel uber allen Zweifel erhoben zu haben, dass es sich hier um ein einheitliches, planvoll angelegtes, genau durchdachtes und folgerichtig durchgefuhrtes Ganzes, um eine Schopfung aus einem Gusse handelt, kurz ausgedruckt: unsere heutigen Umgangsformen enthalten eine vollstandige Organisation des Umgangs, ein ebenburtiges Seitenstuck zu der Organisation des (...) Verkehrs in Form des Rechts. Eine solche Behauptung lasst sich mit einigen allgemeinen Bemerkungen und einzelnen wenigen Beispielen nicht abthun, sie erfordert einen stringenten Beweis, und derselbe ist nur zu erbringen durch Aufbringung eines reichen Apparates. Auch bei dieser Aufgabe werde ich des Stofflichen eher zu viel als zu wenig bringen, getreu der Maxime, die ich bei diesem Werk unausgesetzt befolgt habe, meinen Abstractionen eine moglichst breite Unterlage an einem reichen Detail zu geben. Wem ich des Guten zu viel zu thun scheine, der moge sich erinnern, dass ich genothigt bin, die Sache erst aus dem Groben herauszuarbeiten--ware ich auf diesem Gebiete mein eigener Nachfolger, ich wurde mich kurzer fassen. 0. Wissenschaftliche Kritik der Umgangsformen--echte und unechte Anstandsregeln. Alle Umgangsformen haben den Zweck, den Umgang zu ermoglichen, zu sichern, zu fordern, angenehm und behaglich zu gestalten, --sie enthalten die durch die Sitte beschaffte und gehandhabte Disciplin des gesellschaftlichen Benehmens, wie sie den Vorstellungen der massgebenden Gesellschaftskreise dieses Volks und dieser Zeit entspricht. Es sind die massgebenden d. h. die relativ hoch oder hochst gestellten Kreise, welche die Formen des geselligen Verkehrs...". (shrink)

Views the process of artistic creation in light of the conflict between man's quest for order and increasing universal disorder.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Eislers Grundlagenwerk von 1905 bietet eine systematische Ubersicht samtlicher philosophischer Grundfragen. Seine kritische Stellungnahme zu verschiedenen Losungsansatzen fuhrt zu selbststandiger Reflexion im Gebiet der Erkenntnis- und Prinzipienlehre. Rudolf Eisler (1873-1926) war osterreichischer Philosoph und Mitbegrunder der Soziologischen Gesellschaft in Wien. Als sein Hauptwerk gilt heute das Worterbuch der philosophischen Begriffe." Aus seinem Nachlass veroffentlicht wurde ausserdem das Kant-Lexikon." Sein Philosophiestudium absolvierte Eisler in Leipzig, Prag und Wien. Eislers philosophische Schriften wurden insbesondere von Immanuel Kant und Wilhelm Wundt beeinflusst. Eislers (...) besonderes wissenschaftliches Bestreben lag darin, Realismus und Idealismus im Idealrealismus sinnstiftend zu verbinden.". (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

Samples of Steiner's work are to be found in this introductory reader in which Andrew Welburn brings together excerpts from Steiner's many talks and writings on Religion. This volume also features an editorial introduction, commentary and notes. Topics include: mysticism and beyond: the importance of prayer; the meaning of sin and grace; rediscovering the Bible; true communion; rediscovering the festivals and the life of the earth; finding one's destiny: walking with Christ; the significance of religion in life and death; Christ's (...) second coming: the truth for our time; universal religion: and the meaning of love. (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 111 Heft: 3 Seiten: 813-815.

9 lectures, Oxford, England, August 16-29, 1922 (CW 305) These lectures follow from those presented in Soul Economy. Given during a conference on spiritual values in education and life and attended by many prominent people of the time, Steiner's Oxford lectures present the principles of Waldorf education at the highest cultural level. The Manchester Guardian reported: "Dr. Steiner's lectures...brought to us in a very vivid way an ideal of humanity in education. He spoke to us about teachers who, freely and (...) unitedly, unrestricted by external prescription, develop their educational methods exclusively out of a thorough knowledge of human nature. He spoke to us about a kind of knowledge needed by the teacher, a knowledge of the being of man and the world, which is at the same time scientific and also penetrates into the most intimate inner life, which is intuitive and artistic." These lectures form one of the best introductions to Waldorf education. Contents: Introduction by Christopher Bamford The Spiritual Ground of Education The Perception of Soul and Spirit The Spiritual Ground of Physical Education The Art of Educating Young Children The Art of Educating Older Boys and Girls Teachers As Artists in Education The Organization of the Waldorf School Moral Teaching & Eurythmy in the Waldorf School Teachers in the Waldorf School German source: Die geistig-seelischen Grundkr fte der Erziehungskunst. Spirituelle Werte in Erziehung und sozialem Leben (GA 305). (shrink)

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Rudolf Harms entwickelt seine reich differenzierte Ästhetik des Films in Anlehnung an die Ästhetik seines Lehrers Johannes Volkelt und sucht deren auf Kant zurückgehende Polarität des Schönen und Erhabenen für das Verständnis des neuen Mediums fruchtbar zu machen. Doch sein systematisches Interesse richtet sich auf die Suggestionskraft, durch die sich der Film vor den traditionellen Künsten auszeichnet. Für Harms, der den Film mit Blick auf die photographische Wiedergabe als realistische Kunst einschätzt, ist der Film das Reich des Sichtbaren. Es (...) gibt für ihn keine Kunst, die so berufen wäre, das 'Gesicht der Dinge' darzustellen, wie der Film. Da dieser zu allererst eine Handlung in Bildern gibt, ist er zugleich das Märchenbuch des modernen Erwachsenen. Obwohl noch ausschließlich auf den Schwarzweißfilm und den Stummfilm beschränkt, bietet das Buch in seiner Konzentration auf die wahrnehmungsästhetische und die narrative Dimension des Mediums - auf die Wirkung von Handlung als Bewegung in sinnlicher Anschauung - Einsichten in seine konstitutiven Möglichkeiten, die sich bis heute als Anschlussfähig erweisen. (shrink)

Inhaltsverzeichnis/Table of Contents: Rudolf HALLER: Zwei Vorworte in einem. Evelyn DÖLLING: Alexius Meinong: "Der blinde Seher Theiresias". Jaakko HINTIKKA: Meinong in a Long Perspective. Richard SYLVAN: Re-Exploring Item-Theory. Francesca MODENATO: Meinong's Theory of Objects: An Attempt at Overcoming Psychologism. Jan WOLE??N??SKI: Ways of Dealing with Non-existence. Karel LAMBERT: Substitution and the Expansion of the World. Terence PARSONS: Meinongian Semantics Generalized. Reinhardt GROSSMANN: Thoughts, Objectives and States of Affairs. Peter SIMONS: Meinong's Theory of Sense and Reference. Barry SMITH: More Things (...) in Heaven and Earth. Michele LENOCI: Meinongs unvollständige Gegenstände und das Universalienproblem. Maria E. REICHER: Gibt es unvollständige Gegenstände? Dale JACQUETTE: Meinong's Concept of Implexive Being and Nonbeing. Herbert HOCHBERG:s, Functions, Existence and Relations in the Russell-Meinong Dispute, the Bradley Paradox and the Realism-Nominalism Controversy. Jacek PA_NICZEK: Are Contradictions Still Lurking in Meinongian Theories of Objects? Marie-Luise SCHUBERT KALSI: Apriorische Elemente im Denken. Liliana ALBERTAZZI: Forms of Completion. Johann Ch. MAREK: Zwei Gegenstände und ein Inhalt. Zur Intentionalität bei Meinong. Wolfgang KÜNNE: Some Varieties of Thinking. Reflections on Meinong and Fodor. Alberto VOLTOLINI: Is Meaning Without Actually Existing Reference Naturalizable? Markus S. STEPANIANS: Russells Kritik an Meinongs Begriff des Annahmeschlusses. Nenad MIŠ_EVI_: Imagination and Necessity. R.D. ROLLINGER: Meinong on Perception: Two Questions Concerning Propositional Seeing. Wolfgang G. STOCK: Die Genese der Theorie der Vorstellungsproduktion der Grazer Schule. Rudolf HALLER: Über Meinongs Wissenschaftstheorie. Alfred SCHRAMM: Meinongs Wahrscheinlichkeit. Karl SCHUHMANN: Der Wertbegriff beim frühen Meinong. Wilhelm BAUMGARTNER: Wertpräsentation. Ursula ZEGLÉN: Meinong's Analysis of Lying. Seppo SAJAMA: Hitting Reality: France Veber's Concept of Zadevanje. Matja_ POTR_: Sensation According to Meinong and Veber. Róbert SOMOS: Zwei Schüler Brentanos: Ákos von Pauler und Meinong. J.C. NYÍRI: Palágyis Kritik an der Gegenstandstheorie. David M. ARMSTRONG: Reaction to Meinong. (shrink)