Nachdruck der Originalausgabe von 1901. Oskar Kraus beschreibt in seinem Werk "Zur Theorie des Wertes Wissenschaftliche Methoden die geeignet sind sich dem Begriff das Werts anzunähern. Im wesentlichen untersucht er einerseits die Ansätze die sich aus Ethik und Psychologie ergeben, dem Wert der primären Güter. Und andererseits aus Sicht der Wirtschaftswissenschaft den Wert der äußeren Güter.

En 1901, l’auteur a démontré que la notion de la valeur économique est basée sur celle de la préférence et de l’avantage. Partant des résultats acquis par Franz Brentano dans l’analyse des notions d’avantage et de valeur, l’auteur démontre que tes notions d’utilité et de devoir se ramènent à cette même base. Il s’ensuit une démonstration du rapport des obligations juridiques et des normes de droit positif, avec l’idée du devoir moral. L’auteur s’efforce de réaliser la synthèse du subjectivisme de (...) Protagoras et de l’objectivisme platonicien en prenant, avec le premier, la conscience subjective comme point de départ, et en désignant, avec le second, les actes distingués comme justes {in sich als richtig charakterisierte Akte) pour fondement de l’objectivité de ce qu’on appelle vérités et valeurs objectives. (shrink)

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*******Résume en français plus bas****** Karl Kraus’s favourable and conceptually complex comments of the portrait drawings byOskar Kokoschka in 1910 put us on the trail of a host of different phenomena of pictorial representation. Based on close-readings of several aphorisms by Kraus and drawings by Kokoschka, I suggest that there is something like realistic distortion and that the traditional concepts of style cannot account for all essential stylistic variations that are important in pictures. I argue that we need (...) to introduce the concept of subject specific style. This must be distinguished from other concepts such as signature style. I try to show how these conceptual distinctions are connected to the difference in representational range displayed by media that are based on traces, like photography, and by media based on testimony, like drawing or writing. *********** Résumé En 1910, Oskar Kokoschka produit une série de dessins pour la revue expressionniste berlinoise Der Sturm. L’un des portraits représente le satiriste Karl Kraus, un autre l’architecte Adolf Loos. Au même moment, Kraus fait paraître une série d’aphorismes qui commentent le travail de Kokoschka. Kraus part du travail de Kokoschka pour arriver à des principes généraux sur la représentation picturale. Une analyse des réflexions de l’écrivain et des deux dessins faits par Kokoschka nous permet non seulement de mieux comprendre comment un dessin peut saisir le caractère d’un modèle au-delà du physique, mais aussi de forger des concepts pour enrichir les notions de style traditionnelles. Nous soutenons dans notre article qu’il faut introduire l’idée d’un style à l’oeuvre pour compléter les notions de style habituelles.Le style à l’oeuvre peut être spécifique au sujet traité. Nous montrons en particulier comment le dessin permet des distorsions réalistes, difficiles à obtenir dans des médias basés sur la trace comme la photographie. (shrink)

Im Februar 1930 beschloß das Parlament der tschechoslowakischen Republik, Präsident Th. G. Masaryk aus Anerkennung seiner Verdienste um die Republiksgründung eine Summe von 20 Millionen Kronen zu widmen. Aus Dankbarkeit seinem philosophischen Lehrer Franz Brentano gegenüber ermöglichte Masaryk mit einem Teil dieser Summe im darauffolgenden Jahr die Gründung einer Brentano-Gesellschaft und eines Brentano-Archives in Prag unter der Leitung von Oskar Kraus. Der vorliegende Beitrag versucht die Vorgeschichte und die Geschichte der Gesellschaft bis zu ihrer endgültigen Auflösung im Jahre (...) 1955 und damit ein Stück vergessener Wissenschaftsgeschichte zu rekonstruieren. Besonderes Augenmerk wird dabei auf die Rolle gelegt, die die Brentano-Gesellschaft im Bemühen um den wissenschaftlichen Nachlaß Brentanos spielte. (shrink)

Mr. Kubat attributes much of the misinformation about Brentano's theories to the lack of an edition of Brentano's collected writing. If anyone should wish to know more about Brentano's doctrines, he may have been led by this remark to despair of finding them anywhere in print. The three works which Mr. Kubat mentions, Grundlegung und Aufbau der Ethik, Religion und Philosophie, and Die Lehre vom richtigen Urteil, all edited by F. Mayer-Hillebrand and published by A. Francke in Bern, represent no (...) more than a continuation of the Gesamtausgabe of Brentano's writings which was begun by Oskar Kraus and Alfred Kastil after Brentano's death. The volumes in the Gesamtausgabe represent ten numbers in Meiner's Philosophische Bibliothek and are listed under the heading, "Gesammelte philosophische Schriften." They contain not only new editions of much of the work which Brentano published during his lifetime, but a large amount of material which Kraus and Kastil selected from his enormous Nachlass as well. I am sure that Mrs. Mayer-Hillebrand herself would be the first to recognize that the three published volumes she has edited, and the one on esthetics which is soon to appear in print, are part of a whole which also includes the volumes edited by Kraus and Kastil. Taken altogether, the thirteen volumes that have been published by Meiner and by Francke can well be viewed as at least an adequate substitute for a collected edition. Surely they include everything which is necessary to dispel the common misinformation which Mr. Kubat tries to explain by denying their existence. The trouble has not been the lack of a collected edition, but the lack of readers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Franz Brentano and Intentional Inexistence LINDA L. McALISTER FRANZBRnrCrXr~O,in his important early work Psychologie vom empirischen Stand, punkt (1874), maintains that all human experience is divided into two classes: mental phenomena and physical phenomena,x It is then incumbent upon him to show how these two classes of phenomena are to be distinguished one from another. In Book II, Chapter 1, of the Psychologie, he devotes him.self to this task, (...) and in the course of the chapter he surveys several different ways of making out the distinction. After enumerating examples of men~l phenomena and of physical phenomena, he searches for defining characteristics of mental phenomena. He finds several charac, teristics which he thinks all mental phenomena have and all physical phenomena lack or vice versa, but far and away the most important of these, in Brentano's estimation, and the one whdch has aroused the most interest on the part of later philosophers, is what he calls "intentional inexistence," 2 (or merely "intentional existence"; the prefix "in-" does not indicate negation but rathor location, indicating existence in the mind). As examples of mental phenomena Brentano lists first ideas or presentations (Vorstellungen), whether sensory or issuing from the imagination, and by this he meam not the objects which are presented or which one has before one's mind, but rather the condition or, what Brentano; broadly speaking, calls the act of having such an idea or presentation.3 Thus the acts of hearing something, or seeing or perceiving something would be mental phenomena regardless of whether the object which is, e. g., seen, ds perceived through the visual organs or seen in the mind's eye, so to speak. Other examples are acts of judgment, amongwhich Brentano includes ~:emembering, inferring, believing, doubting; and emotions.such as being happy or sad, lovi~,g and hating, along with which Brentano includes such things as willing, intending, choosing, etc.4 i Oskar Kraus, e.d.,2nd ed. (Leipzig,1924),I, 109. Psych. I, 137. Psych. I, 111. " Psych. I, 112. [423] 424 HISTORY OF PHILOSOPHY ExamFles of physical phenomena which Brentano mentions are "a color, a figure, a landscape which I see, a chord which I hear, warmth, cold, odor which I perceive; as well as similar images which appear in the imagination." s It appears from the examFles, then, that mental phenomena are all mental acts, in a broad sense, while physical phenomena are, strictly speaking, all instances of sensible qualities, the inclusion of "a landscape" being, apparently, a slip on Brentano's part, as his student, friend and editor Oskar Kraus points out. 6 As mentioned above, Brentano thought that there is one partieula~ mark of mental phenomena which characterizes them better than any other: Every mental phenomenon is characterized by what the Scholastics of the Middle Ages called the intentional (or mental) inexistence of an object, and what we might call, though not wholly unambiguously, reference to a content, direction toward an object (by which you should not take me to mean a thing), or immanent objectivity. Every mental phenomenon includes something in itself as an object, though they do not all do so in the same way. In presentation something is presented, in judgment something is affmned or denied, in love loved, in hate hated, in desire desired and so on.7 Commentators, perhaps not surprisingly, have disagreed as to the precise nature of the view which Brentano is enunciating in this passage,s Some have supposed that since you can think of, hate, or judge, etc., things which do not exist, e.g., Pegasus, then the immanent object of which Brentano speaks i,s not Pegasus but a "thoughtof Pegasus" (gedachtes Pegasus) which exists in one's mind whenever someone th'mks of Pegasus. Apparently H6fler interpreted the doctrine in this way in a paper which he presented to the Fifth International Psychology Congress in 1905.9.In the light of some passages from Brentano's early writings it appears to be a plausible interpretation. Consider, for example, the following passage: There cannot be anyone who contemplates an A unless there is a contemplated A; and conversely.... The two concepts are not identical but they... (shrink)

Následující text vydal v roce 1930 Oskar Kraus pod názvem Zur Phänomenognosie des Zeitbewußtseins v časopisu Archiv für die gesamte Psychologie, 75, n. 1-2, s. 1-22. Obsahuje výňatky z korespondence Franze Brentana a pražského profesora Karlo-Ferdinandovy univerzity Antona Martyho z roku 1895 a část Martyho přednášky o Brentanově teorii časového vědomí z téhož roku. Tématem textu je zdůvodnění přechodu od modelu časového vědomí, který pracuje s časovou modifikací předmětů představování, k modelu, který pracuje s časovou modifikací intencionálního vztahu (...) k předmětu. Ve verzi, která je zde zachycena, jde o přechod ke kontinuální modifikaci aktů souzení, které předmět „kladou“. Čtenáře, který by se zajímal o popis a hlubší zdůvodnění vývoje a povahy Brentanových teorií časového vědomí, bych odkázal na následující texty: Chisholm, R. (1981): „Brentano’s Analysis of the Consciousness of Time“. Midwest Studies in Philosophy 6 (1), 3-16, a Chrudzimski, A. (2005): Intentionalität, Zeitbewusstsein und Intersubjektivität, Studien zur Phänomenologie von Brentano bis Ingarden, Ontos, Frankfurt. V češtině pak na Janoušek, H. (2017): „Brentanova teorie času a časového vědomí“. Pro-Fil, 18, no. 1, (v tisku), dostupné online na stránkách časopisu Pro-Fil. (shrink)

‘Judgment’ is Brentano’s terms for any mental state liable to be true or false. This includes not only the products of conceptual thought, such as belief, but also perceptual experiences, such as seeing that the window was left open. ‘Every perception counts as a judgment,’ writes Brentano (1874: II, 50/1973a: 209). Accordingly, his theory of judgment is not exactly a theory of the same phenomenon we call today ‘judgment,’ but of a larger class of phenomena one (perhaps the main) species (...) of which is what we call judgment. Even if we keep this in mind, though, the profound heterodoxy of Brentano’s theory of judgment is still striking. Brentano develops this heterodox theory in some detail already in the Psychology from Empirical Standpoint (Brentano 1874/1973a). But he continued to work out its details, and various aspects of it, until his death. Many of the relevant articles, notes, and fragments of relevance have been collected by Oskar Kraus in 1930 and published under the title Truth and Evidence (Brentano 1930/1966b). Kraus prefaces this volume with an elaborate reconstruction, of dubious plausibility, according to which Brentano’s accounts of judgment and truth have gone through four distinct stages. In reality, there is a unified underlying conviction underwriting Brentano’s work both on judgment and on truth (see CHAP. 20 on the latter). Here I present this unified core of this highly original theory of judgment, which can be captured in terms of three main theses. The first is that contrary to appearances, all judgments are existential judgments (§1). The second is that the existential force of judgment is indeed a force, or mode, or attitude – it does not come from the judgment’s content (§2). The third is that judgment is not a propositional attitude but an ‘objectual’ attitude (§3). (shrink)

This paper examines whether Kant’s Critical philosophy offers resources for a conception of empirical psychology as a theoretical science in its own right, rather than as a part of applied moral philosophy or of pragmatic anthropology. In contrast to current interpretations, this paper argues that Kant’s conception of inner experience provides relevant resources for the theoretical foundation of scientific psychology, in particular with respect to its subject matter and its methodological presuppositions. Central to this interpretation is the regulative idea of (...) the soul, which supplies principles of systematicity at different levels. Firstly, the idea defines the way in which we must reflect on mental beings, i.e., those beings that fall in the domain of psychology. Secondly, it provides a principle for the unification of a systematic body of psychological laws. In consequence, by approaching the object of psychology from the perspective of the self-conscious subject, who––in virtue of being capable of inner experience––first constitutes a psychological reality, Kant’s theory offers an attractive alternative to reductionist conceptions of psychology. (shrink)