Journal of Philosophy of Education, EarlyView.

The social problem incites the Belgian catholics to study scientifically the human collectivity. As early as the nineteen-eighties learned societies are ouded, seminars, congresses, lectures are organized, a review is launched. At the Catholic University of Louvain the School of Political and Social Sciences is inaugurated in 1892. The sociological approach of the problems becomes wide-spread.All this movement is prepared by the work of a pioneer : Edouard Ducpétiaux. He opens the way by his numerous publications and realizations in as (...) various fields as the social inquiries, statistics, sociography, social economics, political science, criminology... The article analyses his methodology and shows place of E. Ducpétiaux among the main intellectual currents of the past century. (shrink)

This volume provides a valuable discussion of Husserl's lifelong project of the critique of science which makes no attempt to conflate the pre-World War I ...

The ArgumentThis essay attempts to show the decisive importance of the “scientific discipline” for any historical or sociological analysis of modern science. There are two reasons for this:1. A discontinuity can be observed at the beginning of modern science: the “discipline,” which up until that time had been a classificatorily generated unit of the ordering of knowledge for purposes of instruction in schools and universities, develops into a genuine and concrete social system of scientific communication. Scientific disciplines as concrete systems (...) (Realsysteme) arise as a result of (a) the communicative stabilization of “scientific communities” at the end of the eighteenth century and the formation of “appropriate” roles and organizational structures (in universities); (b) the structural differentiation of the new scientific disciplines from the established professions (law, theology, medicine) in Europe; (c) the formation of scientific communication in the standardized form of scientific publication; the distinction of the separate action-type “scientific research” and the differentiation of these two elementary acts of all future scientific endeavor in relation to each other.2. The scientific discipline as primary unit of the internal differentiation of science has, since its genesis, been stabilized by two conditions: (a) The fact of a science differentiated into a plurality of (competing, mutually stimulating) disciplinary perspectives becomes the chief causal factor underlying the developmental dynamism of modern science; (b) Similar to the way in which the discipline functions as a cognitive address within the system of science, science also links the discipline up as a structural unit (utilized in both systems) with curricular structures in the system of education — i.e., it is stabilized by the central system/environment relation of science. (shrink)

A clarification of Husserl's changing conceptions of imaginary consciousness ( phantasy ) and memory, especially at the level of auto-affective time-consciousness, suggests an interpretation of Freud's concept of the Unconscious. Phenomenology of consciousness can show how it is possible that consciousness can bring to present appearance something unconscious, that is, something foreign or absent to consciousness, without incorporating it into or subordinating it to the conscious present. This phenomenological analysis of Freud's concept of the Unconscious leads to a partial critique (...) of Freud's metapsychological determination of the Unconscious as a simple, internally unperceived representational consciousness. It also suggests an account of how a reproductive inner consciousness can free the subject from the experience of anxiety by allowing for possibilities of self-distanciation and symbolic self-representation that protect the subject from traumatic affection by and through its own instinctual drives. (shrink)

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)

The Philosophy of Freedom describes Rudolf Steiner's path to freedom. It contains the nonconformist ideals of his youth that result from his study of mathematics, science, and philosophy culminating in a philosophy of life founded upon individualistic truth and ethical individualism. This is the first English translation and the only one sanctioned by Rudolf Steiner himself. Joint translators Prof. and Mrs. R. F. Alfred Hoernlé were selected for their outstanding qualifications. First published in 1916, it is based on (...) the original 1894 German "Die Philosophie der Freiheit". Other translations have been based on the 1918 revised German edition and renamed "The Philosophy Of Spiritual Activity" and "Intuitive Thinking As A Spiritual Path". This original edition includes inspiring passages about individualism that were removed from the book in 1918 and are missing in later translations: "We no longer believe that there is a norm to which we must all strive to conform." "If only we probe deep enough into the very heart of our being, there dwells something noble, something worthy of development." Learn all about Rudolf Steiner's The Philosophy Of Freedom at https: //philosophyoffreedom.com/. (shrink)

In Matter and Memory, Bergson examines the relationship between perception and memory, the status of consciousness in its relation to the brain, and more generally, a possible conjunction of matter and mind. Our reading focuses in particular on his understanding of the evanescent presence of the present and of its debt vis-à-vis the "unconscious" consciousness of a "virtual" past. We wish to show that the Bergsonian version of a critique of "the metaphysics of presence" is, for all that, an offshoot (...) of a Platonic type of metaphysics. It is true that Bergson departs from traditional standpoints on the side of a self-sufficient and original present and a form of presence to which the transparency of consciousness would confer the character of immediate evidence. All the same, it can hardly be claimed that his rehabilitation of the past and the unconscious opens up new perspectives on how forgetting and death are bound up with the work of memory. (shrink)

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay proceeds in (...) three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (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)