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55L’«esplicabile peccato originale dell’intera esperienza». Critica e metafisica della conoscenza in J.F. HerbartRivista di Storia Della Filosofia 68 (4). 2013.The “explicable original sin of all experience”. Critique and metaphysics of knowledge by J.F. Herbart. The Author claims that, in the system of Johann Friedrich Herbart (1776-1841), multiple foundation relationships between psychology and metaphysics interweave as a result of the intermediate position assigned to the human being within the methodological framework. To highlight the quest for objectivity in his general and applied metaphysics, its overall structures are analysed on several level…Read more
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47Herbart and Stumpf wish to set Kant’s Transcendental Aesthetic to music. They offer a genetical interpretation of Kant’s a priori intuition forms and replace transcendental investigation with scientific psychology. Forms – space, time, and musical relationships as well – stem from experience and their actual constitution can be psychologically accounted for. Herein lies the philosophical origin of Tonpsychologie. Tonal fusion represents a key concept in the explanation of sound and it undergoes …Read more
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31Sentimento e forma nella teoria del simbolo di Susanne K. LangerACME: Annali della Facoltà di lettere e filosofia dell'Università degli studi di Milano 60 (1): 141-167. 2007.
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29Johann Friedrich Herbart bringt ein wissenschaftliches Verständnis von Philosophie auf, das sich prägend auf den Aufbau seines Systems sowie auf die Begründung von Psychologie, Ästhetik, Pädagogik und deren gegenseitige Beziehungen auswirkt. Ausgehend von neuen funktionalistischen Interpretationen seiner Philosophie wird gezeigt, wie durch eine relationale Methodologie eine pluralistische Wissenschaftsauffassung ermöglicht wird, welche einerseits die selbständige Entwicklung einzelner Diszipline…Read more
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3Limits of knowledge: the Nineteenth-Century epistemological debate and beyond (edited book)Mimesis International. 2016.With his talk on the limits of natural knowledge in 1872 ("Ignorabimus! We will never know!"), Emil du Bois-Reymond stirred up a controversy (the Ignorabimus-Streit), which spread widely beyond German-speaking countries. It concerned the very possibility to set boundaries to knowledge, the development of the sciences, their attainable results, and concept formation. In this volume, the philosophical value of the Ignorabimus controversy is critically examined. The historical matter and its theore…Read more
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De la possibilité et de la nécessité de jugements esthétiques exactement déterminés. Zimmermann interprète de HerbartIn C. Maigné & C. Trautmann-Waller (eds.), Formalismes esthétiques et héritage herbartien. Vienne, Prague, Moscou, G. Olms. 2009.
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Tonpsychologische Gestalten. Pieces of a Theory of Tonal Fusion by J.F. Herbart and C. StumpfIn G.-J. Boudewijnse & S. Bonacchi (eds.), Carl Stumpf. From Philosophical Reflection to Interdisciplinary Scientific Investigation/Carl Stumpf. Von der philosophischen Reflexion zur interdisziplinären wissenschaftlichen Forschung, Krammer. 2011.
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Helmholtz Musicus. Die Objektivierung der Musik im 19. Jahrhundert durch Helmholtz’ Lehre von den Tonempfindungen (review)Rivista di Storia Della Filosofia 62 (1): 176-178. 2007.
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Verschmelzung und neuronale Autokorrelation als Grundlage einer Konsonanztheorie (review)Rivista di Storia Della Filosofia 64 (4): 882-884. 2009.
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Bewusstseinsverschiebungen. Lo statuto della sensazione tra psicologia, fisiologia ed epistemologia nel tardo OttocentoPhilosophical Readings 7 (2): 14-30. 2015.
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