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21	Om analyticitet hos Frege, Quine och andra filosofer Rosmond, Roland January 2023 (has links) Distinktionen mellan analytiska och syntetiska sanningar spelade en viktig för filosofer som Leibniz, Hume och Kant. Men det var först med Frege som begreppet analyticitet fick en definition som inte bara tycks vara explicit utan som också hade en bred tillämpbarhet. Den förmodade distinktionen analytiskt/syntetiskt har dock senare ifrågasatts av filosofer såsom Quine. Denna uppsats avser i första hand att visa att Quines argument, i artikeln Two Dogmas of Empiricism (1951), mot analyticitet inte är tillräckligt starka för att bevisa att den fregeanska definitionen av analyticitet är cirkulär. I detta sammanhang har uppsatsen även undersökt kronologiskt viktiga epoker där Quine engagerar sig i den analytiska/syntetiska distinktionen i sitt arbete före liksom efter 1951. Den mer moderna traditionen, som delar in analyticitet i två kategorier – metafysisk och epistemisk analyticitet – går tillbaka till Boghossian (1996). Boghossian försvarar en uppdaterad version av Wittgensteins och Carnaps åsikt att analyticitet skall anges i termer av implicita definitioner I motsats till Boghossian anser Williamson att det inte finns något sätt att uppfatta analytiska sanningar som gör analyticitet användbar inom filosofin. Inom ramen för uppsatsens syfte kommer även dessa ’post-quineanska’ försök att beskriva analyticitet och den analytiska förklaringen av a priori att redovisas och kritiskt granskas. / The distinction between analytic and synthetic truths has played an important role for philosophers such as Leibniz, Hume and Kant. However, it was Frege who gave the notion of analyticity a definition that not only appears to be unambiguous but is also widely applicable. However, the supposed analytic/synthetic distinction was later challenged by philosophers such as Quine. This thesis aims primarily to show that Quine’s arguments, in the article Two Dogmas of Empiricism (1951), against analyticity are not sufficient to show that Frege’s definition of analyticity is circular. In this context, the paper has also examined chronologically important periods where Quine is engaged in the analytic/synthetic distinction before and after 1951. The more modern tradition, which separates analyticity into two broad categories – metaphysical and epistemic analyticity – goes back to Boghossian (1996). Boghossian defends an updated version of Wittgenstein’s and Carnap’s view that analyticity should be stated in terms of implicit definitions. In contrast to Boghossian, Williamson believes that there is no way of understanding analytic truths that makes analyticity useful in philosophy. Within the scope of this thesis, these ‘post-Quinean’ attempts to describe analyticity and the analytic explanation of a priori will also be presented and critically reviewed. Analytisk Boghossian Carnap epistemisk Frege implicita definitioner Kant Leibniz logicism logik logisk positivism nödvändighet Quine sanning synonymi syntetisk Williamson Philosophy Filosofi
22	Konst i omlopp : mening, medier och marknad i Stockholm under 1700-talets senare hälft / Art in Circulation : Meaning, Media, and Market in Eighteenth-Century Stockholm Petersson, Sonya January 2014 (has links) The aim of this doctoral thesis is to explore how art was mediated and given meaning in the environment of an urban media culture in Stockholm during the second part of the 18th century. It comprises studies of how art was distributed on the market, how it was discussed in the press and how it was exhibited in public. It also includes an analytical orientation toward mixing of concepts and values, rather than purifying them into categories such as elite and popular. Art is approached as an open concept of investigation. The thesis presents three studies. The first discusses art as concepts and subject matter in papers, pamphlets and encyclopaedias, with a critical stand against the historiography emphasizing the establishment of the 'fine arts'. The second situates art in two parallel practises of showing art in public, exhibitions arranged by the Academy of Arts and the Auction Chamber's public sales. The third deals with prints on the market, a medium equally recognized as one of the fine arts and as a visual mass medium. All studies also consider notions of interaction, public, and social class. Two overarching arguments are developed. The first concerns media cultural functions as mechanisms of cultural transgression. This argument points to the mixing of international and local, regarding both themes in the press and prints on the market. It also stresses the mixing of art, commerce, and entertainment, in the dual character of both the academy's exhibitions and the auction's sales. The second argument consists in pointing to alternative cuts, by which I suggest discursive relations between art, luxury, entertainment, and knowledge. These are areas that, since the 18th century, have often been kept apart, but were nonetheless deeply interwoven. One overarchig pattern studied throughout the thesis is the 18th-century linking of the fine arts as well as luxury, entertainment, and knowledge to a perceptually defined subject. art fine arts concepts definitions media culture intermediality cultural consumption cultural market class press encyclopaedias prints exhibitions auctions aesthetics perception pleasure entertainment knowledge luxury body and soul konst sköna konster begrepp definitioner mediekultur intermedialitet kulturkonsumtion kulturmarknad klass press encyklopedier grafik utställningar auktioner estetik perception behag nöje kunskap lyx kropp och själ

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Om analyticitet hos Frege, Quine och andra filosofer

Konst i omlopp : mening, medier och marknad i Stockholm under 1700-talets senare hälft / Art in Circulation : Meaning, Media, and Market in Eighteenth-Century Stockholm