scholarly journals Andrzeja J. Norasa badania nad neokantyzmem

2021 ◽  
Vol 16 (2) ◽  
pp. 131-141
Author(s):  
Beata Trochimska-Kubacka
Keyword(s):  
History Of Philosophy ◽  
History Of ◽  
Kantian Philosophy

The paper presents the scholarly profile and scientific accomplishments of Andrzej J. Noras, a distinguished philosopher and historian of philosophy. Noras was an indisputable authority in the area of Neo-Kantianism philosophy. He was particularly interested in the issue of the periodisation of history of philosophy, the issues of philosophical systems, the relation between philosophy and psychology, as well as the question of the method of history of philosophy. Outlining Noras’s contribution of to the interpretation of the neo-Kantian philosophy, the paper includes also an overview of his major works, Historia neokantyzmu [History of Neo-Kantianism] and Kłopoty filozofii [Problems of Philosophy].

scholarly journals Post-Neo-Kantianism. What is this?

2020 ◽  
Vol 24 (1) ◽  
pp. 89-98 ◽  
Author(s):  
Andrzej Jan Noras
Keyword(s):  
History Of Philosophy ◽  
Pure Reason ◽  
Correct Interpretation ◽  
Critique Of Pure Reason ◽  
Ongoing Debate ◽  
Philosophical Concept ◽  
History Of ◽  
Kantian Philosophy

The article attempts to define the concept of “post-neo-Kantianism” based on the nature of its relationship to the concept of “neo-Kantianism”. Concerning this matter, the author poses the following tasks: to characterize the phenomenon of neo-Kantianism, to point out the problems of its definition, to identify the relevance of the term “post-neo-Kantianism” and its relation to the philosophy of I. Kant in particular. The author emphasizes the need to introduce this term in the classification of philosophy of the XX century with the appropriateness of building the model of “Kantianism - Neo-Kantianism - Neo-Neo-Kantianism - Post-Neo-Kantianism”, where each new stage is determined by the nature of the reflection of thinkers of a certain period over the fundamental philosophical problems articulated in Kant's “Critics”. Among the post-Neo-Kantians, A. Noras names thinkers traditionally considered to be german phenomenologists, such as E. Husserl and M. Heidegger: it is from the philosophical concept of Husserl that one can speak of the emergence of post-Neo-Kantianism, and the semantically correct interpretation of Heidegger, according to author, is most clearly understood in the framework of Baden Neo-Kantianism. Investigating the phenomenon of post-Neo-Kantianism, the need is established for answering a question regarding the preceding Neo-Kantian tradition, within which there is still a number of contradictions unresolved in the history of philosophy regarding the classification of Neo-Kantian schools and the distinction between the two periods of Neo-Kantianism: early (classical) and late (“correct”). Neo-Kantianism shows the relevance of Kantian philosophy, highlighting the ongoing debate about understanding the Kantian “Critique of Pure Reason”. Post-Neo-Kantianism plays an important role in terms of the perspectives of modern Kant studies, which include Gottfried Martin, Manfred Brelage, or Hans-Michael Baumgartner.

Sounds and gestures of linguistic reference: the endurance of reality in the poetry of Wallace Stevens

Semiotica ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Melih Levi
Keyword(s):  
Twentieth Century ◽  
Language Acquisition ◽  
Theoretical Models ◽  
History Of Philosophy ◽  
Wallace Stevens ◽  
Breaking Point ◽  
Behavioral Models ◽  
History Of ◽  
Kantian Philosophy ◽  
The Way

Abstract The article seeks a rapprochement between pragmatic and semantic theories of language by returning to a breaking point in the history of philosophy, the middle of the twentieth century, when these theoretical models began to evolve into distinct schools of thought. Philosophical accounts of this period explore various and intertwined dependencies between semantics and context; however, they only implicitly examine the potential of sounds and bodily gestures in bringing descriptive clarity to the modes and limits of such dependencies. The article first investigates the way W. V. Quine conceptualized linguistic reference by combining behavioral models of language acquisition with more systematic explorations of syntax. It then turns to P. F. Strawson’s revisionary accounts of Kantian philosophy which reassess the silent strains of empiricism in Kant’s framework in order to identify possible grounds of reconciliation between pragmatic and semantic theories of language. Sound and gesture, two aspects that supplement language and give it an embodied feeling, are suggested as possible devices for formalizing intersections between context and semantic-oriented approaches. Poems by Wallace Stevens are used to think about the endurance of reference and how this endurance can find more compelling demonstration through an investigation of language as an embodied phenomenon.

Locke on Personal Identity

2017 ◽  
Author(s):  
Galen Strawson ◽  
Galen Strawson
Keyword(s):  
Personal Identity ◽  
History Of Philosophy ◽  
Human Being ◽  
Contemporary Philosophy ◽  
Fundamental Point ◽  
Legal Term ◽  
Word Consciousness ◽  
History Of

John Locke's theory of personal identity underlies all modern discussion of the nature of persons and selves—yet it is widely thought to be wrong. This book argues that in fact it is Locke's critics who are wrong, and that the famous objections to his theory are invalid. Indeed, far from refuting Locke, they illustrate his fundamental point. The book argues that the root error is to take Locke's use of the word “person” as merely a term for a standard persisting thing, like “human being.” In actuality, Locke uses “person” primarily as a forensic or legal term geared specifically to questions about praise and blame, punishment and reward. This point is familiar to some philosophers, but its full consequences have not been worked out, partly because of a further error about what Locke means by the word “consciousness.” When Locke claims that your personal identity is a matter of the actions that you are conscious of, he means the actions that you experience as your own in some fundamental and immediate manner. Clearly and vigorously argued, this is an important contribution both to the history of philosophy and to the contemporary philosophy of personal identity.

Acta Fluens – Generatives Handeln und Improvisation im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 49-60
Author(s):  
Davide Sparti
Keyword(s):  
Walter Benjamin ◽  
History Of Philosophy ◽  
Human Existence ◽  
The Unconscious ◽  
The Past ◽  
The Future ◽  
History Of

Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.

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