En el presente trabajo se reflexiona el proceso de construcción del autoconocimiento propuesto por Ernst Cassirer. El objetivo es identificar la tensión entre la vida y espíritu como su antítesis básica y a las mediaciones simbólicas como el recurso cultural que posibilita la formación de un autoconcepto. A través de una revisión crítica de la Philosophie der symbolischen Formen y An Essay on Man, se sostendrá que, i) el autoconocimiento es un proyecto tríadico que integra cada fase previa, ii) que (...) requiere una investigación funcional de la obra y cultura humana para iii) sostener una tensión que distingue sin separar al agente como ser vivo y su autoconocimiento como un producto espiritual. (shrink)

In early major works, Cassirer and Schlick differently recast traditional doctrines of the concept and of the relation of concept to intuitive content along the lines of recent epistemological discussions within the exact sciences. In this, they attempted to refashion epistemology by incorporating as its basic principle the notion of functional coordination, the theoretical sciences' own methodological tool for dispensing with the imprecise and unreliable guide of intuitive evidence. Examining their respective reconstructions of the theory of knowledge provides an axis (...) of comparison along which to locate Cassirer's Neo-Kantianism and Schlick's pre-positivist empiricism, and an immediate background of contrast to the subsequent rise of logical empiricism. For in the absence of intuition all our knowledge is without objects and therefore remains entirely empty. (Kant A62/B87) And how awkward is the human mind in diving the nature of things when forsaken by the analogy of what we see and touch directly? (Boltzmann 1895). (shrink)

This essay centralizes and explores Ernst Cassirer’s concept of style. Although it does not emerge as much as the concept of form or symbol in Cassirer’s corpus, style plays a major—if intrinsic—role throughout the Philosophy of Symbolic Forms. I shall examine how Cassirer’s conception of style is derived from Goethe’s theory of art and why it is fundamental to Cassirer’s theory of knowledge. Style is considered the defining feature of the cultural sciences, as well as the sign of the anthropological (...) character of the natural sciences, and, more generally, as the creative principle underlying all objectivity. I argue that it is therefore justified to read style as the fundamental yet variable expression of our symbolic relation to reality. Indeed, style refers neither to an abstract principle nor to a predetermined truth: it is a formative force actualizing itself in the incessant diversification of its forms. In so doing, Cassirer’s underexamined concept of style proves highly relevant in our times of epistemic and cultural pluralism. (shrink)

Cassirer’s approach to symbolic mediation differs in some important ways from currently prevailing approaches to meaning and signification such as semiology and its more recent poststructuralist varieties. Cassirer’s philosophy of symbolic forms offers a theory of symbols that does not amount to a sign theory or semiology. It sketches out, rather, a dynamic and nonrepresentational framework in which an alternative notion of difference takes centre stage. In order to make the original features of Cassirer’s approach stand out, I will compare (...) it with the approach of the perhaps most influential differential thinker of our day, Jacques Derrida. The philosophy of symbolic forms explicitly prefigures a great many of the insights and concerns of poststructuralism. Yet, there are some critical differences. Rather than rejecting the concepts of objectivity, identity, and truth on the premises established by traditional metaphysics, Cassirer chooses to redefine these concepts through a radical conceptual reframing. The result is a doctrine that—in Derridean parlance—neither jumps beyond the oppositions of metaphysics, nor tries to resolve them in a Hegelian synthesis—a doctrine, that is, that even though it appeals to origins, cannot so easily be dismissed as yet another instantiation of the metaphysics of presence. (shrink)

In his transcendental approach, Cassirer argues that an objective world is not given and then simply copied by our cognitive faculties; rather, it is gained through the development of symbolic thought and perception. According to Cassirer, language plays a crucial role in this process of objectification. In this paper, the close relationship between language and symbolism in Cassirer’s philosophy will be delineated. This will also shed light on possible distinctions between human speech and animal communication. Furthermore, the relation of language (...) to the different functions of consciousness and to the symbolic forms of myth and science will be addressed. Finally, based on the former considerations of language and objectification, Cassirer’s conceptions of reality and truth will be explicated and critically evaluated. It will be argued that his approach offers several interesting and promising insights but is nonetheless in danger of falling short in explaining the difference between artefacts and natural kinds. (shrink)

In this paper I argue that 1) art is, for Cassirer, a symbolic language whereby images (or poetic expressions) work analogously to verbal signs in order to frame and codify meaningful objective contents, namely symbolic formations that constitute objects in a specific region of culture. I claim that 2a) both art and language rely on what I call symbolic-poietic mimesis: a function meant to 2b) combine imitative and constructive states in order to shape a proto-meaningful core according to its symbolic (...) pregnance and 3a) employ forms that are, on the one hand, pure (not derived from experience) and, on the other hand, sensuous (figurative signs). The idea is that while 4a) both language and art are oriented towards objectivity as the constitution of cultural objects, 4b) they also differ in their respective directions. On the one hand, language pursues stable and fixed verbal references. On the other, art relies on moving and living forms meant to codify a dynamic weft of aesthetic values. (shrink)

Philosophy now finds itself in a multipolar world, defined by global commercial, scientific and cultural exchange. At any given point in this world, a multitude of norms, traditions, and habits come together in many ways. ›The Philosophy of Symbolic Forms‹ developed by E. Cassirer offers many insights that help to understand the fabric of such a world, but it needs to be revised and critically developed. This book seeks to extract the essential insights of Cassirer concerning the key function of (...) the symbolic in human life, and to develop them in light of other, more socially grounded philosophy, and of sources from the Japanese traditions. (shrink)