Christian Wenzel

The main ideas in this paper can be summarized in the following three points. (1) Openness, indeterminacy, and exemplarity are elements of both Kant's aesthetics and Wittgenstein's notion of language games. (2) These elements are essential to what makes a person. They are necessary in processes of decision-making and in the development of a person. (3) Such aspects were in the center of discussion during the eighteenth and nineteenth centuries in Europe, especially in the tradition of the so-called Bildungsroman. Unfortunately, they tend to be forgotten nowadays.

In the preface to On Certainty Anscombe and von Wright say that in 1949 Malcolm suggested to Wittgenstein to think again about Moore’s “Defense of Common Sense” (1925) and “Proof of an External World” (1939). Malcolm himself had written on the issue in “Defending Common Sense” (1949). In the preface to the Philosophical Investigations Wittgenstein quotes Nestroy saying that there is usually very little progress in philosophy. But I think some progress has been made from Moore and Malcolm to Wittgenstein regarding skepticism. There is more awareness of practice and perspective and this opens the discussion in novel ways. But it also gives rise to new problems, in particular of morality and relativity.

In this essay I focus on Wittgenstein's discussion of how we understand and feel about people that come from cultures very different from our own. Wittgenstein writes about "guessing thoughts", "regularities", and "common human behaviour" (gemeinsame menschliche Handlungsweise) in this context. I argue that his idea about given forms of life that we should "accept", will be problematic if we want to find a meaningful way of relating to such people with whom we "cannot find our feet" (in die man sich nicht finden kann).

Wittgenstein in his later years thought about experiences of meaning and aspect change. Do such experiences matter? Or would a meaning- or aspect-blind person not lose much? Moreover, is this a matter of aesthetics or epistemology? To get a better perspective on these matters, I will introduce distinctions between certain subjective and objective aspects, namely feelings of our inner psychological states versus fine-tuned objective experiences of the outer world. It seems to me that in his discussion of meaning-blindness, Wittgenstein unhappily floats between these two extremes, the subjective and the objective. I will also introduce some notions from Kant's aesthetics, to get a better understanding of the interplay between feeling and meaning. This will shed some new light on Wittgenstein's enquiry into meaning- and aspect-blindness.

There has been recent dispute between Putnam and Searle over whether meanings are “in the head”. Putnam makes use of Twin-Earth thought experiments to show that our mental states alone cannot determine what we refer to (and thus “mean”) and that we rely also on external factors, which are not “in the head”. This suggests to me that we in some way mean more than we actually know. Searle on the other hand makes use of what he calls “Intentional contents”, “conditions of satisfaction”, and “self-referentiality”, to show that meanings can be said to be in the head. It seems to me that an internalist account as we find it in Husserl or Searle is closer to what is going on when we mean something.

This essay is about Wittgenstein, first about his views on ethics, second about his conception of language games. Third, it combines the two and shows how problems arise from this. Wittgenstein rejects theories of ethics and emphasises the variety of language games. Such language games are marked by what I call “inner relativity”. Wittgenstein himself was not a relativist, but it seems to me his views easily lead to what I call “outer relativism”. In matters of ethics this is particularly problematic.

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find such a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions?

Ob die Kategorien schon bei der Wahrnehmung eine Rolle spielen, wird von Kant-Interpreten unterschiedlich gesehen. Peter Rohs etwa argumentiert für eine Unabhängigkeit und Selbständigkeit der Wahrnehmung gegenüber dem Verstand. Die intuitive Synthesis der Einbildungskraft müsse auf eigenen Füßen stehen können und Bilder und „singuläre Sinne“ der Anwendung der Begriffe vorausgehen. McDowell hingegen spricht sich gegen eine solche Selbständigkeit der Wahrnehmung aus. Setzte man sie voraus, käme der Verstand immer zu spät . Die Argumente beider Seiten sollen am Text Kants untersucht werden . Es liegt hier ein echtes Sachproblem vor. Die gegenwärtige, hauptsächlich amerikanische Diskussion um eine etwaige Notwendigkeit kognitiver Funktionen bei der Wahrnehmung stößt auf ganz ähnliche Probleme wie wir sie schon bei Kant finden, nur daß man sich dieser Ähnlichkeit außerhalb von Kantkreisen oft nicht bewußt zu sein scheint

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century.

The problem of free will as it is know in Western philosophical traditions is hardly known in China. Considering how central the problem is in the West, this is a remarkable fact. We try to explain this, and we offer insights into discussions within Chinese traditions that we think are related, not historically but regarding the issues discussed. Thus we introduce four central Chinese concepts, namely: (1) xīn 心 (heart, heart-mind), (2) xìng 性 (human nature, characteristic tendencies, inborn capacity), (3) mìng 命 (lifespan, fate, command, allotment, endowment), and (4) zìrán 自然 (self-so, so of itself, nature, spontaneity), and we indicate how these concepts and their discussions can be related to discussions on free will.

It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I will argue that Chinese characters still have semantic features that create image-like qualities in a wider sense: not mere resemblances between sign and object, but family resemblances in semantic fields. The fact that Chinese is an isolating and monosyllabic language is essential in this.

According to the so-called Sapir-Whorf hypothesis, a language influences the mind of its user. This is more or less trivial, but the problems are in the details. It is difficult to make precise what those influences are, be it in general philosophical or in particular empirical-cultural terms. I will give an account of what I take to be basic aesthetic and grammatical features of the Chinese language compared with what we find in Western languages such as Latin or greek. Then I will indicate what I take to be cultural differences and discuss whether these might be the result of differences in language structure.

This essay will inform the reader about Kant’s views on mathematics and aesthetics. It will also critically discuss these views and offer further suggestions and personal opinions from the author’s side. Kant (1724-1804) was not a mathematician, nor was he an artist. One must even admit that he had little understanding of higher mathematics and that he did not have much of a theory that could be called a “philosophy of mathematics” either. But he formulated a very influential aesthetic theory that is contained in his “Critique of the Power of Aesthetic Judgment” (1790), and his views on mathematics, especially those that compare it with philosophy, are distinctive and worthy of our attention. Hence, combining mathematics and aesthetics, asking whether mathematics can be beautiful and why and how it can or cannot be so called, according to Kant’s theory, will be particularly interesting. This essay has three parts: it discusses mathematics, aesthetics, and the aesthetics of mathematics, primarily in Kantian perspectives but also in ways that critically evaluate those perspectives.

This is an essay about language, thought, and culture in general, and about Ancient Greek and Classical Chinese in particular. It is about the Sapir-Whorf hypothesis, which says that language influences the mind, and applies this hypothesis to Greek and Chinese. It is also an essay in comparative philosophy as well as a contribution to the history of ideas. From the language side, I rely on the nineteenth-century German linguist Wilhelm von Humboldt, and from the culture side on the contemporary French sinologist François Jullien. Combining their ideas, I give substance to the Sapir-Whorf hypothesis and explain some of Jullien's claims about the historical and political developments of Chinese culture. The central ..