In this article, we analyse how Ernst Cassirer’s approach of a phenomenology of knowledge deals with the general question of disunity in science and society. By elaborating on the concept of functional unity, which presupposes difference, Cassirer’s work helps to revise foundational concepts of modern science and society, such as pluralism and truth. Relating Cassirer’s approach to the current interest in political epistemology, we show the implications of Cassirer’s theory of knowledge and analyses of modern science, particularly physics. In these (...) analyses, Cassirer carves out the relational logic of scientific knowledge and its consequences on epistemological and ethico-political levels. While this logic of relations relativises absolute claims on either level, it entails its distinct normative criteria as elements of the scientific ideal. Cassirer’s project defends this ideal and thus can simultaneously defend plurality _in_ science (including the humanities) in terms of methods, perspectives and aims, and preserve the unity _of_ science as a normative ideal and symbolic form in constant interaction with other forms. Thus, Cassirer’s pluralism must be distinguished from mere historicist or relativist conceptions. (shrink)

The article investigates Cassirer's developing interest in the cultural sciences to display how his Philosophy of Symbolic Forms constitutes a philosophy of culture. The core concept in such a philosophy of culture is the symbolic formation that both possesses a structured-structuring dimension and appears as an historical process in which culture shows itself as a temporal creation. The philosophy of culture displays 'life in meaning', that is reality as it exhibits human reality manifested in and through the medium of linguistic, (...) artistic, religious, scientific "and so on" action and behaviour. This reality, therefore, is mediation between culture and nature through human spirit. Cassirer's philosophy of culture connects back to Kant's transcendental idealism by emphasizing that any concept of reality establishes itself through a modalization of reality, e.g. that reality constitutes itself in the mode of interpretation. This makes the basis for Cassirer's characteristic understanding of hermeneutics where cultural development is regarded as drama. (shrink)

It is a well-known fact that Ernst Cassirer was inspired by his colleague, the biologist Jakob von Uexkiill at the university of Hamburg. This paper claims this inspiration was double—affecting both Cassirer's philosophical anthropology and Cassirer's epistemology of biology, but in two rather different ways. Thus, the paper intends to shed light on a corner of the history of the development of German thought of the interwar period. It may also have an actual interest because both Cassirer and Uexkiill enjoy, (...) for the time being and each in their way, a renaissance, e.g. in the recent field of biosemiotics. (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 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 ; 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)