This ambitious work reclassifies and restructures the history of ideas and the philosophy of culture through a wide-ranging and novel use of the idea of the organon. It does so by radically revising standard interpretations and theories of all branches of philosophy, and by providing an intellectual and philosophical foundation for the new organon of the cultural sciences. Furthermore, the seeded idea that saw its growth in the form of this book is the unshakable conviction that the only way by (...) which a new apparatus of philosophy, an organon, could be created is by harking back to the vast sources of imagination, inspiration and mimÄ"sis. This entire study is based on the notion that metaphysics, insofar as it is concerned with the world in its entirety and with human beingâ (TM)s existence and thought, should provide the foundation for the organon of cultural sciences, based on symbolic forms. Given that the colossal amount of information and knowledge of philosophy, arts, humanities, logic, mathematics, social sciences and natural sciences cannot be comprised, analyzed and comprehended per se, it is the organonâ (TM)s objective to extract the main principles, ideas, postulates, theorems and theories of the cultural sciences, and, subsequently, to shape and restructure them as symbolic forms. Since all these principles are grounded on Becomingâ "which is not a stable or fixed entity such as Being, substance or thingâ "the symbolic forms preserve and change, elevate and further the organon of the cultural sciences, via a critical-dialectical process. (shrink)

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. Cassirer's thought also anticipates the renewed interest in the origins of analytic and continental philosophy in the Twentieth Century and the divergent paths taken by the 'logicist' and existential traditions, epitomised by his now legendary debate in 1929 with the philosopher Martin Heidegger, over (...) the question "What is the Human Being?" The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation of all three volumes, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Taken together, the three volumes of The Philosophy of Symbolic Forms are a vital treatise on human beings as symbolic animals and a monumental expression of neo-Kantian thought. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

In dialogue with afro-caribbean philosophy, this book seeks in Cassirer's philosophy of symbolic forms a new vocabulary for approaching central intellectual and ...

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial (...) - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Volume 2: Mythical Thought considers the role of myth in human thought and expression. Cassirer examines the main features of morphology of myth before tackling the relationship between myth and self-consciousness. He argues that human beings' experience of the world around them is charged with affective and emotional significance, as desirable or hateful, comforting or threatening. It is this type of meaning which underlies mythical consciousness and explains its disregard for the distinction between appearance and reality. From mythical thought religion and art develop, Cassirer argues, making the mythical view of the world the earliest form of philosophical expression. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

v. 1. Language.--v. 2. Mythical thought.--v. 3. The phenomenology of knowledge.--v. 4. The metaphysics of symbolic forms.

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial (...) - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Volume 1: Language is a fascinating examination of arguably the most fundamental of these systems of expression: human language. Cassirer traces the problem of language and expression far back in the history of philosophy, considering the work of the early Greek rationalists. He then examines the later empiricist tradition, up to the romantic tradition in the nineteenth century tackling fundamental questions about representation, signification and expression as well as language and conceptual thought in mathematics and science. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

My paper will analyze Cassirer’s logic of the cultural sciences as it developed in close engagement with work on logic, psychology, biology, and linguistics in the nineteenth and early twentieth centuries. The paper focuses on Chajim Steinthal, who sees the “expressive form” of language as a natural function of human engagement with the environment, developing independently of logic. When read in the context of his engagement with Steinthal, the biologist Uexküll, and the neuroscientist Kurt Goldstein, The Philosophy of Symbolic (...) Forms reimagines the role of logic and language in the construction of the cultural world. This provides a reading of what Cassirer means by the logic of the cultural sciences, and what he means by culture itself. My reading highlights the tension, which I argue stems from Steinthal’s earlier work, between the assertion that phenomena including linguistic expression, living beings, and consciousness develop independently of a unifying logic, and Cassirer’s assertion that we live in a common, objective human world. (shrink)

The ArgumentErnst Cassirer's theory of language as a symbolic form, one of the richest and most insightful philosophies of language of the twentieth century, went virtually unnoticed in the mainstreams of modern linguistics. This was so for what seems to be a good metatheoretical reason: Cassirer insisted on the constitutive role of meaning in the explanation of linguistic phenomena, a position which was explicitly rejected by both American Structuralists and Chomskian Generativists. In the last decade, however, a new and (...) promising linguistic framework has emerged — the framework of lexical semantics — which seems to bear close theoretical resemblance to Cassirer's theory. In this paper, I show how the empirical results accumulated within the framework of lexical semantics serve to validate Cassirer's most fundamental philosophical insights, and suggest that Cassirer's philosophy helps position these empirical results in their appropriate epistemological context. I discuss the following fundamental points, which, for me, constitute the backbone of both Cassirer's philosophy and the theory of lexical semantics: natural language grammars constitute structural reflections of a deeply-rooted, highly structured level of semantic organization; the representational level of linguistic meaning, which is prior to experience in the Kantian sense, comprises a partial set of semantic notions, which language selects as centers of perceptual attention; this partial set is potentially different from the sets selected by other symbolic forms, such as myth, science, and art; and linguistic variability is to be explained in universalistic terms, thus allowing for specific patterns of variability within universally-constrained limits. (shrink)

"In his Phenomenology of Cognition, Cassirer provides a comprehensive and systematic account of the dynamic process involved in the whole of human culture as it progresses from the world of myth and its feeling of social belonging to the highest abstractions of mathematics, logic and theoretical physics. Cassirer engages with the most sophisticated and cutting-edge work in fields ranging from ethnology to classics, egyptology and assyriology to ethology, brain science and psychology to logic, mathematics and theoretical physics. His command of (...) philosophy, literature, and the arts is superb. Echoing his work on Kant, Cassirer begins ThePhilosophy of Symbolic Formswith the problem posed by the meaning of being for philosophy since Plato. But Cassirer also shows that this problem gains new significance with Kant and with the development of modern culture. Cassirer weaves his conception of the development of knowledge into a broadly Kantian and German idealist dynamic-historical conception of significance and of experience that refuses to accept a fundamental opposition between literary, philosophical and scientific culture. In consequence of his great vision grounded in careful reflection and argument, Cassirer's systematic conception of the Copernican cosmopolitan-cosmological revolution is still philosophically and scientifically unmatched in contemporary philosophy on both sides of the Atlantic and of the Pacific." - Pierre Keller, Professor of Philosophy, University of California, Riverside, USA. This new translation makes Cassirer's seminal work available to a new generation of scholars. Each volume includes an introduction by Steve Lofts, a foreword by Peter Gordon, a glossary of key terms, and an index. Steve Lofts is Professor of Philosophy at King's University College, Canada. He is the translator of Cassirer's The Logic of the Cultural Sciences and The Warburg Years : Essays on Language, Art, Myth, and Technology. (shrink)

At his death in 1945, the influential German philosopher Ernst Cassirer left manuscripts for the fourth and final volume of his magnum opus, _The Philosophy of Symbolic Forms_. John Michael Krois and Donald Phillip Verene have edited these writings and translated them into English for the first time, bringing to completion Cassirer's major treatment of the concept of symbolic form. Ernst Cassirer believed that all the forms of representation that human beings use—language, myth, art, religion, history, science—are (...) symbolic, and the concept of symbolic forms was the basis of his thinking on these subjects. In this volume, which contains one text written in 1928 and another in about 1940, Cassirer presents the metaphysics that is implicit in his epistemology and phenomenology of culture. The earlier text grounds the philosopher's conception of symbolic forms on a notion of human nature that makes a general distinction between Geist and life. In the later text, he discusses Basis Phenomena, an original concept not mentioned in any of his previous works, and he compares his own viewpoint with those of other modern philosophers, notably Bergson and Heidegger. (shrink)

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

Cassirer's conception of culture & theory of symbolism anticipated much of later cultural theory. The essays in this volume explore aspects of his thinking & demonstrate the influence that it had on later scholarship.

The _Symbolic Forms_ has long been considered the greatest of Cassirer’s works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science—the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. “These three volumes alone make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if ‘The Golden Bough’ had been written in philosophical (...) rather than in historical terms.”—F.I.G. Rawlins, _Nature_. (shrink)

This book -- the first commentary on Ernst Cassirer's Metaphysics of Symbolic Forms -- provides an introduction to the metaphysical views that underlie the philosopher's conceptions of symbolic form and human culture.

To commemorate the centenary of Ernst Cassirer's Philosophy of Symbolic Forms this essay focuses on how Cassirer in the development of a distinctive philosophical method analyzed the newest development within philosophy and science. Discussing Einstein's theory of relativity and Russell's formal logic Cassirer found tools to expand the critique of reason into a critique of culture. The course of argumentation is as follows. At the outset Cassirer's outline of the idea of The Philosophy of Symbolic Forms (...) in the 1920 book Einstein's Theory of Relativity is presented as a reaction to the increasing distance between theoretical physics and ordinary experience. The Philosophy of Symbolic Forms can be read as an answer to an inner methodological demand within critical idealism. I encircle this motif in Cassirer's comment that Plato's idealism, understood as the dianoia of thought, is reiterated in Kant's transcendental philosophy and Herman Cohen's reception of Kant. This leads to a discussion of how Cassirer breaks away from Cohen by the positive reception of Russell's symbolic logic. Finally, I present the theory of functional concepts developed by Cassirer (1910) in the book Substance and Function as a prerequisite for the conception of a plural but systematic philosophy of symbolic forms. (shrink)

A commentary on Ernst Cassirer's "Metaphysics of Symbolic Forms". It offers an introduction to the metaphysical views that underlie the philosopher's conceptions of symbolic form and human culture. It also focuses on the meaning of Cassirer's claim that philosophy is not itself a symbolic form.

In the first two sections of the following remarks, I will establish a working definition of Cassirer's concept of a symbolic form. Symbolic forms are primarily forms of expression (1). Furthermore, they must be conceived as forms of world-disclosure and forms of mind and spirit (2). Finally, I will highlight the key elements of Cassirer's analysis of the practical dimension of symbolic forms (3). I argue that a reconsideration of the concept of (...) a symbolic form will naturally let the philosophy of symbolic forms adopt the shape of a critical theory of society. (shrink)

Both Hilbert's axiomatics and Cassirer's philosophy of symbolic forms have their roots in Leibniz's idea of a 'universal characteristic,' and grow on Hertz's 'principles of mechanics,' and Dedekind's 'foundations of arithmetic'. As Cassirer recalls in the introduction to his Philosophy of Symbolic Forms, it was the discovery of the analysis of infinity that led Leibniz to focus on "the universal problem inherent in the function of symbolism, and to raise his 'universal characteristic' to a truly philosophical (...) plane." In Leibniz's view, the logic of 'things' cannot be separated from the logic of 'signs,' as "the sign is no mere accidental cloak of the idea, but its necessary and essential organ."Every 'law' of .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 51-64 MuseSearchJournalsThis JournalContents[Access article in PDF]Art as Symbolic Form: Cassirer on the Educational Value of ArtThora Ilin BayerIntroductionAmong the papers that Ernst Cassirer left at his death in 1945 is a fully written out lecture labeled "Seminar of Education, March 10th, 1943," which also bears the title "The Educational Value of Art." It may have been prepared for a session of (...) Cassirer's seminar at Yale for that spring on Aesthetics: Symbolic Forms, the second half of a yearlong course. 1 The text begins with discussion of the Platonic quarrel with the poets and moves through views of various thinkers, especially Croce and Collingwood. Cassirer had planned to have a volume on art included in The Philosophy of Symbolic Forms, in addition to those on Language,Mythical Thought, and The Phenomenology of Knowledge. 2 In these three volumes he often mentions the triad of language, myth, and art, but he says little of art as such.In May 1942 in a letter to Paul Schilpp, the American philosopher and editor of the volume of critical essays on Cassirer's work in the Library of Living Philosophers series, Cassirer wrote that he had intended to produce a volume on art but the disfavor (Ungunst) of the times caused him to put it off again and again. 3 The principal sources of Cassirer's aesthetics are his chapter on art in An Essay on Man 4 and two lectures on the educational value of art called "Language and Art I & II," 5 which parallel his earlier small study, Language and Myth. 6 Cassirer's conception of art as a symbolic form is derived from his conception of human culture as a systematic structure of symbolic forms that has as its main components myth and religion, language, art, history, and science (the chapter titles of the second part of An Essay on Man). In addition to these forms of culture there is a "metaphysics of symbolic forms," the subject of a fourth volume of The Philosophy of Symbolic Forms, left in manuscript at his death. 7 [End Page 51]I wish to raise two questions: (1) How does Cassirer conceive of art as a symbolic form? and (2) What are the implications of his conception for a conception of the ideals of aesthetic education? My aim in pursuing these questions is not to argue for the correctness of Cassirer's views but to attempt to establish what his views in fact are. Little has been written directly on Cassirer's conception of art relative to the frequency with which his name is mentioned in general discussions of aesthetics. 8 Cassirer's conception of education is a nearly unexamined subject. 9The Platonic Quarrel: MimesisCassirer says: "Of all the problems that we have to study in a philosophy of education, the problem of the educational value of art is one of the most difficult ones." 10 He claims that this problem goes back to the beginning of philosophy itself and that at present we are still very far from a generally accepted solution. Plato's famous quarrel with the poets in the tenth book of the Republic is important not simply for an understanding of ancient aesthetics but also for philosophy's conception of itself.The basic tenets of this quarrel are well known. I wish to review them here toward the goal of suggesting an original view of it that is derivable from Cassirer's approach. The issue is whether poetry or philosophy is the means to truth. The works of Homer had scriptural status for the Greeks and were thought to contain all that was necessary for civil wisdom. Poiein is to make and compose poetry. The ancient poet is a maker of truth claims through language. The quarrel rests on the fact that the philosopher is also a maker of truth claims formulated in words. Is the relatively new figure in Plato's time of the philosophos, the friend or lover... (shrink)

Harreà’s positioning theory posits discourse as the concrete context within which selves are produced, but accentuates the dissociation between the physical engagement in a conversation and ‘location’ in a conceptual interpersonal space. The thesis that positioning involves selective attention, and that selected positions express ongoing transformations in the hearer’s experiential realm is expanded here initially by reference to Gibson’s direct-perception theory. The concepts of indexical and symbolic affordances are introduced to describe the function of utterances in setting parameters for (...) hearer’s behavioural and social-relational engagement, respectively. This implicates a construct of ‘psychological value’ , as proposed by C. G. Jung. The essay draws attention to the idea of symbol forming as a process whereby abstract self/world relations are articulated in one’s actions and thoughts, and in which context the ‘reception’ of others’ actions and utterances as having positioning implications may be understood. (shrink)

This paper aims at focusing on Cassirer's relationship with Hegel during the crucial period when Cassirer is outlining and completing the Philosophy of Symbolic Forms in the early 1920s. The main thesis is that Cassirer has never abandoned his original Neo-Kantian approach, despite the fact that it has been enriched within the perspective of a philosophy of culture indebted to some extent also to Hegel's Phenomenology of Spirit. However, Cassirer maintains that Kant's critical idealism must be contrasted with (...) Hegel's absolute idealism, keeping thereby open the process of the spirit that cannot close itself in a definitive logical structure. This critical stance is shared by some contemporaries of Cassirer such as Dilthey, Windelband, and above all Natorp. We have thus to read Cassirer's project against the historical backdrop of the ‘Hegel-Renaissance’ in Germany, a circumstance that, according to the author, can contribute to a more adequate understanding of Cassirer's opus magnum. (shrink)

This ambitious work reclassifies and restructures the history of ideas and the philosophy of culture through a wide-ranging and novel use of the idea of the organon. It does so by radically revising standard interpretations and theories of all branches of philosophy, and by providing an intellectual and philosophical foundation for the new organon of the cultural sciences. The seeded idea that saw its growth in the form of this book is the unshakable conviction that the only way by which (...) a new apparatus of philosophy, an organon, could be created is by harking back to the vast sources of imagination, inspiration and mimesis. This study is based on the notion that metaphysics, insofar as it is concerned with the world in its entirety and with human being's existence and thought, should provide the foundation for the organon of cultural sciences, based on symbolic forms. Given that the colossal amount of information and knowledge of philosophy, arts, humanities, logic, mathematics, social sciences and natural sciences cannot be comprised, analyzed and comprehended per se, it is the organon's objective to extract the main principles, ideas, postulates, theorems and theories of the cultural sciences, and, subsequently, to shape and restructure them as symbolic forms. Since all these principles are grounded on Becoming - which is not a stable or fixed entity such as Being, substance or thing - the symbolic forms preserve and change, elevate and further the organon of the cultural sciences, via a critical-dialectical process. (shrink)

The ArgumentMy thesis in this text is that A. Ernst Cassirer outlines a philosophical theory that proves equally sensitive to historical change and to the consistency of conceptual thinking. B. Cassirer relies on the differential logic of an internally ruptured, and yet undivided “basis phenomenon.” Especially his reading of Goethe has led to the concept of the basis phenomenon existing in a differential symbolic mode. Cassirer's delineation of Goethe's conceptual trivium ofUrphänomene— “experience,” “deed,” and “life” — underscores the conceptual (...) rupture in the construction of any basis phenomenon. Furthermore, I argue that C. thePhilosophy of Symbolic Forms, takes up Goethe's notion of basis phenomena and eventually turns it into a modern, pluralistic theorem about the interrelation of science and culture. Cassirer reaches this aim by (1) focusing on the question of philosophical inquiry as a basis phenomenon in the sense of a basic philosophical activity. I also argue that (2) Cassirer's view retains an essentially ambiguous character, as opposed to a fundamentalist notion of basis phenomena. It is important to see that (3) this ambiguity also informs Cassirer's notion of culture (the plurality of symbolic forms), as well as his delienation of the relation between culture and science. (shrink)

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. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 51-64 MuseSearchJournalsThis JournalContents[Access article in PDF]Art as Symbolic Form: Cassirer on the Educational Value of ArtThora Ilin BayerIntroductionAmong the papers that Ernst Cassirer left at his death in 1945 is a fully written out lecture labeled "Seminar of Education, March 10th, 1943," which also bears the title "The Educational Value of Art." It may have been prepared for a session of (...) Cassirer's seminar at Yale for that spring on Aesthetics: Symbolic Forms, the second half of a yearlong course. 1 The text begins with discussion of the Platonic quarrel with the poets and moves through views of various thinkers, especially Croce and Collingwood. Cassirer had planned to have a volume on art included in The Philosophy of Symbolic Forms, in addition to those on Language,Mythical Thought, and The Phenomenology of Knowledge. 2 In these three volumes he often mentions the triad of language, myth, and art, but he says little of art as such.In May 1942 in a letter to Paul Schilpp, the American philosopher and editor of the volume of critical essays on Cassirer's work in the Library of Living Philosophers series, Cassirer wrote that he had intended to produce a volume on art but the disfavor (Ungunst) of the times caused him to put it off again and again. 3 The principal sources of Cassirer's aesthetics are his chapter on art in An Essay on Man 4 and two lectures on the educational value of art called "Language and Art I & II," 5 which parallel his earlier small study, Language and Myth. 6 Cassirer's conception of art as a symbolic form is derived from his conception of human culture as a systematic structure of symbolic forms that has as its main components myth and religion, language, art, history, and science (the chapter titles of the second part of An Essay on Man). In addition to these forms of culture there is a "metaphysics of symbolic forms," the subject of a fourth volume of The Philosophy of Symbolic Forms, left in manuscript at his death. 7 [End Page 51]I wish to raise two questions: (1) How does Cassirer conceive of art as a symbolic form? and (2) What are the implications of his conception for a conception of the ideals of aesthetic education? My aim in pursuing these questions is not to argue for the correctness of Cassirer's views but to attempt to establish what his views in fact are. Little has been written directly on Cassirer's conception of art relative to the frequency with which his name is mentioned in general discussions of aesthetics. 8 Cassirer's conception of education is a nearly unexamined subject. 9The Platonic Quarrel: MimesisCassirer says: "Of all the problems that we have to study in a philosophy of education, the problem of the educational value of art is one of the most difficult ones." 10 He claims that this problem goes back to the beginning of philosophy itself and that at present we are still very far from a generally accepted solution. Plato's famous quarrel with the poets in the tenth book of the Republic is important not simply for an understanding of ancient aesthetics but also for philosophy's conception of itself.The basic tenets of this quarrel are well known. I wish to review them here toward the goal of suggesting an original view of it that is derivable from Cassirer's approach. The issue is whether poetry or philosophy is the means to truth. The works of Homer had scriptural status for the Greeks and were thought to contain all that was necessary for civil wisdom. Poiein is to make and compose poetry. The ancient poet is a maker of truth claims through language. The quarrel rests on the fact that the philosopher is also a maker of truth claims formulated in words. Is the relatively new figure in Plato's time of the philosophos, the friend or lover... (shrink)

This paper pursues the double task of presenting Cassirer’s Philosophy of Symbolic Forms as a systematic critique of culture and assessing this systematic approach with regards to the question of reason vs. relativism. First, it reconstructs the development of his theory to its mature presentation in his Philosophy of Symbolic Forms. Cassirer here presents a critique of culture as fulfilling Kant’s critical work by insisting on the plurality of reason as spirit, manifesting itself in symbolic (...) forms. In the second part, the consequences of this approach will be drawn by considering the systematics Cassirer intended with this theory. As can be reconstructed from his metaphilosophical reflections, the strength of Cassirer’s philosophy is that it accounts for the plurality of rational-spiritual activity while at the same time not succumbing to a relativism. The Philosophy of Symbolic Forms steers a middle course between a rational fundamentalism and a postmodern relativism. (shrink)

본 논문은 카시러의 사상에서 ‘상징형식’과 ‘언어’의 의미에 대해 해명해 보는 것을 근본목적으로 삼고 있다. 주지하다시피, 카시러는 훔볼트로부터 많은 학문적 영향을 받았으나, 그의 이론과 확연히 구별되는, 이른바 ‘상징’과 ‘상징형식’이라는 독자적인 개념을 사용하였다. 여기서는 우선 이들 개념이 어떠한 의미를 지니는지에 대해 살펴보고자 한다. 이것은 카시러가 주장하는 ‘상징형식’의 의미와 함께 ‘언어’를 하나의 ‘상징형식’으로 간주하는 이유를 이해하기 위함이다. 실제로 그는 언어, 신화, 예술, 종교와 같은 문화형식들은 인간의 삶을 총체적으로 이해할 수 있게 해준다고 주장하였다. 그는 이러한 문화형식들을 ‘상징형식’이라고 지칭하였는데, 이것은 인간 문화의 본질을 파악하는 중요한 (...) 열쇠가 되기도 한다. 이어서, 우리는 ‘언어의 기원’문제를 통해 그가 강조하는 ‘정동(情動)의 언어’에 대해 살펴보고자 한다. 여기서는 특히 언어의 기원 문제를 깊게 탐구했던 비코, 하만, 헤르더 등의 언어사상을 간략히 소개할 것이다. 다음으로, ‘언어와 신화의 상관성’에 대한 카시러의 입장, 곧 언어와 신화가 공통의 근원에 근거하고 있으나 그 구조는 다소 차이가 있음을 확인해 봄으로써, 신화와 구별되는 언어의 본질적 의미를 밝혀보고자 한다. 마지막으로, 우리는 그가 강조하는 언어의 ‘상징적 기능’에 대해 살펴봄으로써, 언어가 하나의 정신적 형식이자, 우리를 객관적 세계에 대한 이해로 이끄는 중요한 요소임을 해명해 보고자 한다. (shrink)

Cassirer counts history as a symbolic form in his list that includes myth, religion, language, art, and science, but his discussion of history is confined to a chapter in An Essay on Man. A more complete understanding requires attention to a year-long seminar he taught at Yale on “The Philosophy of History” in 1941–1942. The partially unpublished texts of this seminar are the most extended exposition of Cassirer’s conception of history as a symbolic form. The key source for (...) Cassirer’s philosophy of history is Vico. Cassirer holds that “historical consciousness” is a very late product of human civilization not found before the Greeks and even with the Greeks history is not analyzed as a particular form of thought. Cassirer claims that such analysis did not appear until the eighteenth century in the work of Vico and Herder. (shrink)

This is the first full-length, systematic study of Ernst Cassirer's fourth volume of The Philosophy of Symbolic Forms: The Metaphysics of Symbolic Forms, which was published in the German edition in 1995 and in the American edition in 1996 from Cassirer's Nachlass. Prior to the appearance of this volume it was generally held that Cassirer had little interest in a metaphysics of symbolic forms and had not formulated such. ;This study considers the nature of (...) the basic elements of Cassirer's metaphysics as they appear in this fourth volume and as they are connected to comments in other of his works. It also considers to what extent Cassirer's philosophy of symbolic forms requires a metaphysical grounding in a traditional sense. ;Part I is an analysis of Cassirer's writings of the 1920s concerning his distinction between life and spirit , their dialectical relationship and their connection to the conception of symbolic form. Highly significant is Cassirer's assertion in a fragment from this period that philosophy is not itself a symbolic form. ;Part II is an analysis of Cassirer's writings of the 1940s concerning his conception of three "basis phenomena" --the life-process and the I, action and the Other, and the sphere of work . Of particular importance is Cassirer's final description of the philosophy of symbolic forms as a Socratic philosophy grounded in the basis phenomenon of work. ;The study contains an appendix showing an analytic scheme of the volume and a comprehensive bibliography of Cassirer's works and critical literature relevant to the interpretation of his systematic philosophy. (shrink)

This article explores datafication as a speculative discourse that fundamentally and instrumentally misunderstands data, not as a representational system, but as an ontology. This analysis of datafication takes a semiotic and media-archaeological approach to datafication, understanding it as an imaginary media system, and the article looks to supplementary discourses in data visualization and big data to clarify and expand an understanding of datafication as a prescriptive and speculative idea. This critique is sharpened through the exploration of a detailed study of (...) the early visualizations and unpublished fictions of W. E. B. Du Bois, whose imagined technology of the “megascope” gives a remarkable blueprint for contemporary discourses in data visualization and data science. Du Bois’s liberatory perspective is contrasted to a more paranoid example coming from the self-documented delusional system of Daniel Paul Schreber, who provides a much different vision of a totalizing media system in the form of an Aufschreibesysteme, which seems to presage another side of datafication as a surveillance system. Taken together, datafication, the megascope, and the Aufschreibesysteme work as three speculative media that imagine themselves as different instances or visions of a totalizing media system, a notion that has become especially significant in the technological, cultural, and economic systems of the twenty-first century. (shrink)