Online research in philosophy

Ernst Cassirer claimed that Kant's notion of actual object presupposes the notion of truth. Therefore, Kant cannot define truth as the correspondence of a judgement with an actual object. In this paper, I discuss the relations between Kant's notions of truth, object, and actuality. I argue that's notion of actual object does not presuppose the notion of truth. I conclude that Kant can define truth as the correspondence of a judgement with an actual object.

Summary The paper considers Ernst' Cassirer's standpoint with reference to Euclidean geometry and the complementarity principle of quantum theory, interpreted as a choice between a causal description and a space-time description. The acceptance of the complementarity principle by Cassirer not only lands him off the Kantian path slightly, but it also leads him to some contradictions and incompatibilities within his own system of thought. 1. Accepting complementarity, Cassirer cannot still hold that there is an infinite hierarchy of objective levels as he does towards the end of hisDeterminismus; and 2. accepting complementarity, Cassirer cannot still hold on to the observability principle of Leibniz.

The article investigates Cassirer’s developing interest in the cultural sciences to display how his Philosophy of Symbolic Forms constitutes a philosophy of culture. The core concept in such a philosophy of culture is the symbolic formation that both possesses a structured-structuring dimension and appears as an historical process in which culture shows itself as a temporal creation. The philosophy of culture displays ‘life in meaning’, that is reality as it exhibits human reality manifested in and through the medium of linguistic, artistic, religious, scientific “and so on” action and behaviour. This reality, therefore, is mediation between culture and nature through human spirit. Cassirer’s philosophy of culture connects back to Kant’s transcendental idealism by emphasizing that any concept of reality establishes itself through a modalization of reality, e.g. that reality constitutes itself in the mode of interpretation. This makes the basis for Cassirer’s characteristic understanding of hermeneutics where cultural development is regarded as drama.

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.

Biographical material.--Descriptive and critical essays on the philosophy of Ernst Cassirer.--The philosopher speaks for himself.--Bibliography of the writings of Ernst Cassirer.

Die Geburt der Tragödie and Weimar classicism -- The formative influence of Weimar classicism in the genesis of Zarathustra -- The aesthetic gospel of Nietzsche's Zarathustra -- From Leucippus to Cassirer : toward a genealogy of "sincere semblance".