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page065from Building Ideastendency in his thought that appears to limit individual freedom. This acquiescence to a kind of “historical destiny” proved to be troubling for later critics, as did Heidegger’s support for German nationalism during the 1930s and beyond.
Where Heidegger’s search for the “truth” of Being led him, like Hegel, to favour poetry and language, Ernst Cassirer, on the other hand, began from a different set of assumptions and this led him to an alternative conclusion. Cassirer sidestepped the metaphysical questions of Heidegger’s philosophy of Being and instead took up the problem of knowledge. It was this more than anything that caused their difference of opinion which Heidegger expressed in a review of Cassirer’s work. By dealing with epistemology as distinct from ontology, Cassirer was following in the footsteps of Kant, who, as we say earlier, had produced the three great critiques which each dealt with one aspect of knowledge. Kant’s critiques or enquiries into the “conditions of possibility” under which we could know anything about the world had produced the distinction between the real world and the world which we know in our minds. The distinction turns on the fact that what we know about the world is limited by the capacity our brains, which are structured in such a way as to “frame” our perceptions to fit into certain pre-given forms. As these perceptions depend on schema like three-dimensional space and time, Kant made it clear that our knowledge is restricted by these different categories or forms of thought. Cassirer picked up on this principle to develop a theory of knowledge, based on the variety of what he called “symbolic forms”, and in the process he modified the chronological sequence set out in Hegel’s history of aesthetics. Where Hegel presented philosophy as the highest achievement of human knowledge, with art as a primitive phase now past its useful purpose, Cassirer allowed all media an equivalent importance in that each has a unique role to play. He did this by considering the origins of language in the assignment of symbols to objects and then extending this metaphorical basis of all language systems to the analysis of symbolism in art. If art could be said to function as another form of language, or another means of describing the world, then whole disciplines
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