Ira (Irit) Katsur (Kachur)

Kant’s theory of cognition aimed to explain the possibility of scientific knowledge. Aesthetics and life science were not considered by Kant in the context of cognition. By contrast, Cassirer set himself a philosophical task to extend Kant’s theory of cognition to all forms of culture, including pre-scientific knowledge and aesthetics. The present study demonstrates how Cassirer explained the possibility of different objective forms, named symbolic, by employing and transforming Kant’s theory of cognition. For this goal, Cassirer took the following steps: modified the definitions of a priori synthesis (the act of understanding) and pure intuition (the forms of space and time) - main building blocks of Kant’s cognition; indicated the necessary correlation of intuition and synthesis; characterized a priori synthesis and the intuition as notions which include contradicted meanings. Cassirer called this contradiction “twofold oppositions” as characteristic of a priori synthesis. The first argument of the article is that the possibility of various synthetic acts is rooted in the nature of a priori synthesis which carries together two different meanings: the act of uniting elements and the initial unity. One synthetic act forms the world of nature and is connected to scientific space and time, and the other is the product of immediate perceptional space and time, from which the world of myth and aesthetics appears. Thus, Cassirer expanded the scope of “pure” synthesis. The second argument is that Cassirer specified a priori synthesis and pure intuition as a functional concept. The functional concept belongs to the model of concept as-relation that Cassirer has elaborated. It includes moments that are separated and united simultaneously. This definition of concept breaks the rules of consistency. The concept of as-relation justifies the contradictory characteristics of a priori synthesis and pure intuition, which include both the combination of moments in a synthesizing act and the initial unity of intuition.

Ernst Cassirer has been proclaimed a follower of Hermann Cohen. However, Cassirer modified the basic concepts of Cohen’s theory of knowledge, so that Cassirer’s philosophical positions in many aspects actually stand in opposition to Cohen’s. Although Cassirer did follow Cohen’s methodology coherently, in that path he refuted the main positions of his teacher. Cohen’s philosophical task was forwarding Kant’s critical method to construct a theory of knowledge. He aimed not only to renew Kant’s method in the way he interpreted it, but also to revise, in accordance with Kant’s method, the uncritical positions of Kant's own theory of knowledge. Cohen’s methodology was intended to achieve this goal. In following his teacher’s task, however, Cassirer developed a set of functional concepts which coherently reveal and overturn the uncritical positions in the theory of knowledge, including the one essential for Cohen himself. Consequently, it may be said, Cassirer “revises” Cohen’s system in a same way that Cohen revised Kant.

Текст Десяти заповедей Библии предписывает поклоняться только единому Богу и запрещает создавать изображения Бога и изваяния. Цель данной статьи исследовать взгляды Мендельсона, Когена и Кассирера на связь между предписанием поклоняться единому Богу и запретом идолопоклонства в иудаизме. В статье рассматривается вопрос, почему Мендельсон и Коген определяют запрет на изображение Бога как запрет, характеризующий сущность иудаизма как религии разума. Анализируя понятие знака, Мендельсон объясняет поклонение идолам как непонимание указывающей функции знака; подобное непонимание ведет к ошибочному восприятию. Коген раскрывает с помощью этого запрета уникальность истинного Бога иудаизма. Понятия знака и символа в текстах Мендельсона стали ключевыми для философии Кассирера. Посредством этих понятий он создает свою философию культуры и теорию восприятия. Мой аргумент состоит в том, что в свете философии Кассирера, идолопоклонство (как ошибочное восприятие) характеризует не только ушедшие в прошлое этапы развития религиозного сознания, но также является необходимым моментом в структуре восприятия. Abstract: The text of the Decalogue in the Bible orders to worship the one God and forbids creating images of God and any cultic statues. The aim of this paper is to inquiry the views of Mendelssohn, Cohen, and Cassirer - the Jewish German-speaking rational philosophers - regarding the link between the precept to worship the one God and the prohibition of the idolatry in Judaism. Why idolatry was identified with making images of God? The article will investigate the arguments, according to which Mendelssohn and Cohen define the prohibition of God’s images in Judaism as the essential law for religion based on reason. Mendelssohn’s understanding of idolatry is a result of his theory of sign. Analysing the concept of sign, Mendelssohn explains idol worship as misunderstanding of the sign’s function to denote things. Idolatry, in his terms, is an erroneous perception. For Cohen the prohibition of God’s images reveals the uniqueness of the true God of Judaism. The unique God has no image, and to make image of him is the same as to create another god. Mendelssohn’s concepts of sign and symbol became key concepts for Cassirer’s philosophy of culture and theory of perception. My final argument is that in light of Cassirer's philosophy, idolatry (defined previously as erroneous perception) characterizes not only past stages of religious consciousness, but also constitutes necessary moment in the structure of perception.

The main goal of this article is to investigate the mythical symbolic form in Cassirer’s Philosophy of Symbolic Form regarding its connection with visual perception. The article argues that mythical symbolic form is rooted in Gestalt principles of perception for organizing the perceptual field, and shows that these principles shape the main features of space and time in Cassirer’s mythical symbolic form. This argument challenges Heidegger’s critique of Cassirer’s definition of a mythical symbolic form that it is directionless and not grounded in man’s being. The combination of Gestalt principles and mythical symbolic forms supports the argument about the active role of visual perception, and clarifies Cassirer’s application and re-definition of Kantian and Neo-Kantian concepts. The investigation opens a perspective for comprehending the mythic-religious phenomenon as well as for comprehending visual perception.