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  1. Philosophy of the Symbolic: Edited by Arno Schubbach.Ernst Cassirer - 2021 - Journal of Transcendental Philosophy 2 (1):167-211.
    The historical beginnings of Ernst Cassirer’s philosophy of culture remain unclear. For it is not apparent how his major philosophy of culture and the Philosophy of Symbolic Forms, published in the 1920s, emerged from his earlier epistemological work and Substance and Function from 1910. However, this gap can be filled to a certain extent by the “Disposition” of a “Philosophy of the Symbolic” from 1917 that could be reconstructed from Cassirer’s literary estate and is documented in this contribution. In the (...)
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  • Il pensiero come processo simbolico: uno studio comparativo su Peirce e Cassirer.Antonucci Elio - manuscript
    Il seguente lavoro si concentra su un confronto tra la filosofia di Peirce e quella di Cassirer, con particolare attenzione alla loro trattazione del problema della semiotica e della sua rilevanza in relazione alla teoria della conoscenza.
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  • Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois.Sauer Martina - 2016 - Sztuka I Filozofia (Art and Philosophy), Warschau 48:12-29.
    Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...)
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  • Peirce and Iconology.Tullio Viola - 2012 - European Journal of Pragmatism and American Philosophy 4 (1):6-31.
    “[I]t is the belief men betray, and not that which they parade which has to be studied.” This short Peircean sentence has been the subject of important yet underrated attention in the reception of Peirce’s philosophy, passing through the art historians Edgar Wind and Erwin Panofsky and arriving finally at Bourdieu. This paper explores the affinities between Peirce’s and Panofksy’s thinking, as well as their historical connections and their common sources, taking its cue from an analysis of the similar arguments (...)
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