克里斯蒂安·冯·埃伦费尔斯
在埃伦费尔斯看来,一段旋律移调后仍可辨认,尽管每个音都变了:整体具有自身的一种性质,即“格式塔质”,它多于各部分之和;他还反对迈农,认为价值建立在欲求之上,而不是建立在情感之上。
定位
布拉格的奥地利哲学家,布伦塔诺和迈农的学生:一段旋律移到另一个调上仍是同一段旋律,所以它不只是各个音的总和;他以这种“格式塔质”(1890)为格式塔心理学开辟了道路。
核心思想
- 格式塔质
- 整体大于部分之和
- 价值理论
- 宗教哲学(《宇宙起源论》)
影响
受影响于 3
弗朗茨·布伦塔诺 师从
师从 ✓
Ehrenfels attended Brentano’s lectures in Vienna and studied with Meinong, whom he followed to Graz for his doctorate (1885); he habilitated in Vienna in 1888. B. Smith, Austrian Philosophy: The Legacy of Franz Brentano (1994)
弗朗茨·布伦塔诺 › 1838–1917
恩斯特·马赫
受其影响
Ehrenfels started ‘Über Gestaltqualitäten’ (1890) from Mach’s observation in the Analysis of Sensations (1886) that a melody stays the same when transposed although every tone changes. C. von Ehrenfels, “Über Gestaltqualitäten” (1890); E. Mach, Beiträge zur Analyse der Empfindungen (1886); SEP “Christian von Ehrenfels”; SEP “Ernst Mach”
依据: AI 草稿
恩斯特·马赫 › 1838–1916
阿列克修斯·迈农 师从影响了
师从
Ehrenfels followed Meinong from Vienna to Graz and took his doctorate under him in 1885; his ‘Über Gestaltqualitäten’ (1890) in turn gave Meinong a starting point for his theory of objects of higher order. B. Smith, Austrian Philosophy: The Legacy of Franz Brentano (1994); C. von Ehrenfels, “Über Gestaltqualitäten” (1890)
依据: AI 草稿
影响了
Meinong answered Ehrenfels’s Gestalt qualities (1890) with a theory of founded contents (‘Zur Psychologie der Komplexionen und Relationen’, 1891), which led to his objects of higher order (1899). A. Meinong, “Zur Psychologie der Komplexionen und Relationen” (1891); “Über Gegenstände höherer Ordnung und deren Verhältniß zur inneren Wahrnehmung” (1899); SEP “Alexius Meinong”; SEP “Christian von Ehrenfels”
依据: AI 草稿
阿列克修斯·迈农 › 1853–1920
影响了 1
埃德蒙德·胡塞尔
影响了
In Philosophy of Arithmetic (1891) Husserl related his ‘figural moments’, the unitary character of sensory groups, to Ehrenfels’s Gestalt qualities, published the year before (1890). E. Husserl, Philosophie der Arithmetik (1891); C. von Ehrenfels, “Über Gestaltqualitäten”, Vierteljahrsschrift für wissenschaftliche Philosophie 14 (1890); SEP “Christian von Ehrenfels”
依据: AI 草稿
埃德蒙德·胡塞尔 › 1859–1938
作品
立场
Ehrenfels is on the map as the philosopher who introduced the concept of Gestalt. In “On Gestalt Qualities” (1890), starting from observations by Ernst Mach, he asked why a melody remains the same when transposed into another key, although every tone has changed, while it becomes a different melody if the same tones are rearranged. His answer was that we perceive, along with the elements, a “Gestalt quality” of the whole – a melody, a spatial figure, a rhythm – which is not the sum of the sensations but is founded on them. The idea was taken up by Meinong and the Graz school, by Husserl in the “Philosophy of Arithmetic” (1891) and, in transformed form, by Wertheimer, Köhler and Koffka, who made the whole prior to its parts and founded Gestalt psychology. In value theory he held against Meinong that value is grounded in desire rather than in feeling: a thing has value because it is, or would be, desired. Later he wrote a speculative “Cosmogony” (1916) and on religion. His programme for a reform of sexual ethics, which joined eugenic ideas with racial fears, is set out under “Context & critique”.
生平与背景
Christian von Ehrenfels was born on 20 June 1859 in Rodaun near Vienna into a family of Lower Austrian nobility. He first studied agriculture, then philosophy in Vienna under Franz Brentano and in Graz under Alexius Meinong, with whom he took his doctorate in 1885. He taught in Vienna from 1888 and in 1896 became professor of philosophy at the German University in Prague, where he taught until 1929; Max Wertheimer, one of the founders of Gestalt psychology, was among his students. Besides philosophy he wrote dramas and a libretto and was a fervent admirer of Richard Wagner. After 1900 he devoted much effort to proposals for a reform of sexual morality. He died at Lichtenau in Lower Austria on 8 September 1932.
其他主要作品
- Über „Gestaltqualitäten“ (1890)
- System der Werttheorie (2 vols., 1897–98)
- Sexualethik (1907)
- Kosmogonie (1916)
- Das Primzahlengesetz (1922)
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