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Profile: Hanne Appelqvist (University of Helsinki)
  1.  15
    Hanne Appelqvist (forthcoming). Representation and Reality in Wittgenstein's. British Journal for the History of Philosophy:1-3.
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  2.  5
    Hanne Appelqvist (2016). On Wittgenstein's Kantian Solution of the Problem of Philosophy. British Journal for the History of Philosophy 24 (4):697-719.
    ABSTRACTIn 1931 Wittgenstein wrote: ‘the limit of language manifests itself in the impossibility of describing the fact that corresponds to a sentence without simply repeating the sentence’. Here, Wittgenstein claims, ‘we are involved … with the Kantian solution of the problem of philosophy’. This paper shows how this remark fits with Wittgenstein's early account of the substance of the world, his account of logic, and ultimately his view of philosophy. By contrast to the currently influential resolute reading of the Tractatus, (...)
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    Hanne Appelqvist (2016). On Wittgenstein's Kantian Solution of the Problem of Philosophy. British Journal for the History of Philosophy 24 (4):697-719.
    ABSTRACTIn 1931 Wittgenstein wrote: ‘the limit of language manifests itself in the impossibility of describing the fact that corresponds to a sentence without simply repeating the sentence’. Here, Wittgenstein claims, ‘we are involved … with the Kantian solution of the problem of philosophy’. This paper shows how this remark fits with Wittgenstein's early account of the substance of the world, his account of logic, and ultimately his view of philosophy. By contrast to the currently influential resolute reading of the Tractatus, (...)
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  4.  24
    Hanne Appelqvist (2011). Form and Freedom: The Kantian Ethos of Musical Formalism. Nordic Journal of Aesthetics 40 (40-41):75-88.
    Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Eduard Hanslick, is seen as a purist who, by emphasizing musical rules, aims at restricting music criticism and even musical practices themselves. It may also seem that formalism is depriving music of its ability to have moral significance, as the semantic connection to the extramusical is denied by the formalistic view. In my paper, I defend formalism by placing Hanslick’s argument in a Kantian framework. It is (...)
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  5.  22
    Hanne Appelqvist (2011). On Music, Wine, and the Criteria of Understanding. SATS: Northern European Journal of Philosophy 12 (1):18-35.
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  6. Hanne Appelqvist (2013). Ethics and Aesthetics Are One and the Same? In Peter Sullivan Michael Potter (ed.), Wittgenstein's Tractatus. History and Interpretation. OUP 40.
     
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  7.  21
    Hanne Appelqvist (2012). Music in German Philosophy: An Introduction Edited by Sorgner, Stefan Lorenz and Oliver Fürbeth. Journal of Aesthetics and Art Criticism 70 (2):245-247.
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  8. Hanne Appelqvist (2013). Why Does Wittgenstein Say That Ethics and Aesthetics Are One and the Same? In Peter Sullivan Michael Potter (ed.), Wittgenstein's Tractatus. History and Interpretation. OUP
     
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  9.  2
    Hanne Appelqvist (2011). On Music, Wine and the Criteria of Understanding. SATS 12 (1).
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  10.  7
    Hanne Appelqvist (2013). Stephen Davies , Musical Understandings and Other Essays on the Philosophy of Music . Reviewed By. Philosophy in Review 33 (1):26-28.
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  11. Hanne Appelqvist (2012). Apocalypse Now: Wittgenstein's Early Remarks on Immortality and the Problem of Life. History of Philosophy Quarterly 29 (2):195-210.
    In this paper, I develop a Kantian reading of Ludwig Wittgenstein's early notions of immortality and the problem of life. I argue that, in spite of his rejection of the assumption of temporal immortality as a solution to the problem of life, Wittgenstein's understanding of the problem itself reflects the Kantian setting of his early system. Moreover, while there is no room for any postulates of practical reason in Wittgensein's early thought, God and immortality are still notions that figure in (...)
     
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