At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many (...) theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant. (shrink)

After 1945, when the Philosophical Investigations were largely finished, Wittgenstein spent his final years undertaking an intensive study of the grammar of our psychological concepts and the philosophical misinterpretations we often assign to them. In the article at hand I do not claim to fathom the full range of Wittgenstein’s thoughts on the philosophy of psychology even in the most general way. Rather it is my intention to shed some light on a diagnosis which he made for the psychology of (...) his time. In Section 2 of this paper I would like to provide a brief sketch of what Wittgenstein considered to be the conceptual confusion prevalent in psychology and to suggest why he did not expect the methods of an experimental science to be successful in solving the problems that concern us in psychology. In Section 3 I’ll attempt to analyze how psychological concepts, according to Wittgenstein, might be construed in order to avoid any type of conceptual confusion. (shrink)