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The importance of symbols
The importance of symbols
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Biography of Ernst Cassirer
Ernst Cassirer (1874--1945) was a Jewish German intellectual historian and philosopher, the originator of the ``philosophy of symbolic forms.'' After a distinguished teaching career in Germany, he fled the Nazis, first to Oxford, then Goteborg, then finally Yale, which gives an annual series of lectures in philosophy in his honor; he died as a visiting professor at Columbia. Having read and admired his historical works, particularly The Philosophy of the Enlightenment, I was curious about his own doctrines. The summary of them included in his semi-historical book The Myth of the State left me quite confused: reading it gave me no sense of what a symbolic form was, except that it had something to do with what Kant called forms of apperception (no surprise: Cassirer was a neo-Kantian). Similarly, on that basis I couldn't have told you what Cassirer thought a myth was, though it had something to do with emotions whose ``motor-expressions'' were rituals.
Now, I don't think I'm a stupid man, or a bad reader. In the line of professional duty I've read a great deal on subjects which are fairly tricky conceptually, like mathematical logic and quantum field theory and learning theory, and it at least felt like I understood them. And I'm not normally blocked by dense prose, either. Nonetheless, what I got from those passages was a diffused feeling of frustrated incomprehension: there was something there, and I just wasn't getting it. (I may add that, pursuing my hobby of psychoceramics, I've read a great deal of dense prose where there really isn't anything to be grasped, and the difference is palpable.) Such befuddlement is, of course, the reason why introductory books are written, so I started looking arou...
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...s more than I'd suspected.) Cassirer's erudition was profound, and he is always exceptional at explaining what other people thought, and both acute and generous about their merits and defects. The problem is, I learnt very little about Cassirer's ideas, and I still don't know whether this is because he's bad at self-exposition, or whether I'm just too dumb to twig him.
Bibliography:
ix + 237 pp. (Yale UP)/294 pp. (Doubleday), no illustrations, bibliographic footnotes, index of names and subjects (analytical for subjects)
Anthropology and Archaeology / Art / Languages and Linguistics / Mind, Consciousness, etc. / Philosophy / Philosophy of Science / Religion
Currently in print as a trade paperback (1962), ISBN 0-300-00034-0, US$16; out of print as a pocket-sized paperback (Garden City, NY: Doubleday, 1954); out of print as a hardback. LoC B3216.C33 E8
Ed. Harold Bloom. New York: Chelsea House Publishers, 1985. McQuade, Donald, ed., pp. 113-117.
...g. Ed. X. J. Kennedy and Dana Gioia. 12th ed. New York: Pearson, 2013. 549-51. Print.
(Livy, p.34), (Livy, p. 35), (Livy, p. 37), (Livy, p. 226-227), (Livy, p. 228-229), (Stillman, p.17-18), (Stillman, p.20-21)
Ford, Richard. “Introduction” in : Yates, R., Revolutionary Road, (2001 edition), Methuen Publishing Ltd, London.
(30) My thanks to Profs. Otfried Höffe, Karl Ameriks, David Solomon, and audiences at the University of Tübingen and the 1998 APA Pacific Division Meetings and my commentator there, Mark LeBar, for helpful comments on earlier versions of this paper.
(8) J.Habermas, "The Entwinement of Myth and Enlightenment: Rereading Dialectic of Enlightenment", in New German Critique, No:26, 1982, p. 27
...ct. Indiana University South Bend Undergraduate Research Journal. (2002): n. pag. Web. 25 November 2013.
11th Ed. Joel Feinberg and Russ Shafer-Landau, eds. Belmont, CA: Wadsworth Group, a division of Thompson Learning, inc. 2002, 53-77.
“All good ideas arrive by chance” (Max Ernst). Max Ernst born 1891 in Bruhl, Germany. He was a painter, sculptor, graphic artist and a poet. Max Ernst came from a large middle-class family of nine and was the third born. His father Phillipp was an amateur painter and was a teacher to the deaf. A good deal of Ernst's work as an adult sought to undermine authority including that of his father. Max was a founding member of the Surrealist group in Paris. Although many speculate on the ideas that Max had there are numerous pieces of artwork that are an amazing sight. His works and iconic paintings have been seen all around the world and
R. M. Ogilvie. Preface and Additional Material by S.P. Oakley. London: Penguin Books, 2003. Matthews, Roy T., F. De Witt Platt, and Thomas F. X. Noble. I am a naysayer.
Heinrichs, Jay. Thank You for Arguing. 1st ed. revised. Three Rivers Press: New York, New
Ed. Lynn Z. Bloom and Louise Z. Smith. 3rd ed. Boston: Bedford/ St. Martin’s, 2011. 494-507. Print.
56, No. 3 (1989), pp. 543-569. The Johns Hopkins University Press. JSTOR. Web. 24 April 2014.
Ed. Laurence Behrens and Leonard J. Rosen. 10th ed. New York: Pearson Longman, 2008.610-612. Print.
123, No. 2 -. 3203. The. (May 18, 1956), pp. 896-897. Stable URL: http://links.jstor.org/sici?sici=0036-8075%2819560817%293%3A124%3A3216%3C322%3ATPP%3E2.0.CO%3B2-L This site is very reliable.