This is the first volume devoted to the aesthetics of the Graz school. V. Raspa’s introduction gives an outline of the aesthetic themes and exponents of the school. D. Jacquette argues for a Meinongian subjectivistic aesthetic value theory. B. Langlet deals with aesthetic properties and emotions. Ch.G. Allesch presents Witasek's aesthetics in its historical context. Í. Vendrell Ferran investigates the aesthetic experience and quasi-feelings in Meinong, Witasek, Saxinger and Schwarz. R. Martinelli illustrates the musical aesthetics of Ehrenfels, Höfler and Witasek. P. Mahr asks if object-theoretical aesthetics is possible at all. M. Potrc and V. Strahovnik concentrate on Veber's aesthetic judgment. N. Dolcini deals with the migration of ficta, and F. Orilia with words and pictures in fictional stories.

This volume brings together essential essays by an important but neglected thinker in early twentieth-century German philosophy, Edith Landmann-Kalischer. As the first English translation of her writings, this volume represents a landmark step in the effort to restore to its rightful place her philosophy and, in particular, its methodologically unified approach to aesthetic, moral, and epistemic value. The three essays translated - "On the Cognitive Value of Aesthetic Judgments: A Comparison of Sensory Judgments and Value Judgments" (1905), "On Artistic Truth" (1906), and "Philosophy of Values" (1910) - demonstrate a philosophical mind at home with the then emerging disciplines of phenomenology and psychology during one of the most fecund eras of philosophy in German-speaking lands. Drawing on the ferment of this period and engaging with its leading thinkers (e.g., Brentano, Husserl), Landmann-Kalischer crafts a unique and powerful contribution to aesthetics, the philosophy of art, and value theory. And far from speaking simply to the concerns of her day, in these essays she tackles questions that remain as pressing for us today as they were in her time. Are beauty, goodness, and truth real or merely subjective? How do we experience these values? Does our experience of value lead to judgments that can be true or false? Can those experiences lead to knowledge? Is a science of value possible at all? In Landmann-Kalischer's essays, we find rigorously argued and compelling answers to these questions.

This engaging collection of essays locates the debate between theism and naturalism in the broader context of reflection on imagination and aesthetics. The eleven original essays will be of interest to anyone who is fascinated by the power of imagination and the role of aesthetics in deciding between worldviews or philosophies of nature.

Ranging from Antiquity to contemporary analytic philosophy, it provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. A fascinating idea which recurs throughout the book is that philosophers allow for a sort of a secret kinship between music and philosophy, as means to reveal complementary aspects of truth.

Both through his own work and that of his students, Franz Clemens Brentano (1838–1917) had an often underappreciated influence on the course of twentieth- and twenty-first-century philosophy. The Routledge Handbook of Franz Brentano and the Brentano School offers full coverage of Brentano’s philosophy and his influence. It contains 38 brand-new essays from an international team of experts that offer a comprehensive view of Brentano’s central research areas—philosophy of mind, metaphysics, and value theory—as well as of the principal figures shaped by Brentano’s school of thought. A general introduction serves as an overview of Brentano and the contents of the volume, and three separate bibliographies point students and researchers on to further avenues of inquiry. Systematic and detailed, The Routledge Handbook of Franz Brentano and the Brentano School provides readers with a valuable reference to Brentano’s work and to his lasting importance in the history of philosophy and in contemporary debates.

This book explores the thought of Alexius Meinong, a philosopher known for his unconventional theory of reference and predication. The chapters cover a natural progression of topics, beginning with the origins of Gegenstandstheorie, Meinong’s theory of objects, and his discovery of assumptions as a fourth category of mental states to supplement his teacher Franz Brentano’s references to presentations, feelings, and judgments. The chapters explore further the meaning and metaphysics of fictional and other nonexistent intended objects, fine points in Meinongian object theory are considered and new and previously unanticipated problems are addressed. The author traces being and non-being and aspects of beingless objects including objects in fiction, ideal objects in scientific theory, objects ostensibly referred to in false science and false history and intentional imaginative projection of future states of affairs. The chapters focus on an essential choice of conceptual, logical, semantic, ontic and more generally metaphysical problems and an argument is progressively developed from the first to the final chapter, as key ideas are introduced and refined. Meinong studies have come a long way from Bertrand Russell’s off-target criticisms and recent times have seen a rise of interest in a Meinongian approach to logic and the theory of meaning. New thinkers see Meinong as a bridge figure between analytic and continental thought, thanks to the need for an adequate semantics of meaning in philosophy of language and philosophy of mind, making this book a particularly timely publication.​

Bringing together leading international practitioners and theorists in the field, ranging from the 1960s pioneers of participation to some of the major contemporary figures in the field, Architecture and Participation opens up the social and political aspects of our built environment, and the way that the eventual users may shape it. Divided into three sections, looking at the politics, histories and practices of participation, the book gives both a broad theoretical background and more direct examples of participation in practice. Respectively the book explores participation's broader context, outlining key themes and including work from some seminal European figures and shows examples of how leading practitioners have put their ideas into action. Illustrated throughout, the authors present to students, practitioners and policy makers an exploration of how a participative approach may lead to new spatial conditions, as well as to new types of architectural practices, and investigates the way that the user has been included in the design process.

Unlike studies which confine psychologism to the second half of the nineteenth century, and to an explicit claim of psychology as a 'Grundwissenschaft' during that period, this work attempts to trace psychologism's emergence in Greek antiquity, in hedonistic tendencies of the Renaissance, and in British Empiricism. Thus, psychologism figures as a generic concept, embracing a variety of both positivistic and idealistic arguments concerning the localization of normative sciences, particularly aesthetics and literary theory, in psychological space. This study also considers the implicit psychologism of even those psychoaesthetic theories which claimed to be against the exclusive status of psychology. In their actual treatment of aesthetic and literary facts, such theories inadvertently did indeed resort to psychologistic arguments. The position from which I have chosen to look at psychologistically committed aesthetics and literary theory is essentially phenomenological. The author seeks to present psychologism as a central tendency of psychoaesthetics as well as to assert critically psychologism's basic assumptions.

Phenomenology was in large part the discovery of Edmund Husserl, whose Logical Investigations of 1900/01 are normally regarded as the work that launched the phenomenological movement. Yet Husserl's phenomenology, in particular in the form in which it is set out in this his most important contribution to philosophy, is itself part of an Austrian philosophical tradi tion inspired by Brentano and continued, in very different ways, by Meinong, Stumpf, Twardowski, Ehrenfels, Husserl - and Marty. Like Brentano and all his heirs Marty's philosophical interests were in the philosophy of mind, where this is taken to include or at least ground the philosophy of language, and analytic metaphysics. It is Marty's discussions of topics in these two areas that provide the contributions to this volume with their subject-matter. The papers by Roderick Chisholm, S.-Y. Kuroda, Barry Smith, Peter Simons, Rosaria Egidi, Karl Schuhmann, Elmar Holenstein, Edgar Morscher, Wolf gang Wenning and myself were presented at the 1984 conference on Anton Marty in Fribourg, Switzerland. Our host in Fribourg was Guido Kung, the conference was made possible by the Fritz Thyssen Stiftung. I should like to thank both for their help. Geneva, April 1988 KEVIN MULLIGAN Xl Abbreviations Employed in the Text Anton Marty's two major works, the Untersuchungen and the posthumously published Raum und Zeit are referred to in what follows in the following style. U Untersuchungen zur Grundlegung der allgemeinen Grammatik und Sprachphilosophie, Vol. I (only volume published). Halle a. S.