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Sind-, I t a y upt den Ilin t c r K r u n d o d e r sp ie le n u mend. Dcnotnlii irctcn in b ezieh , seine Ik stim irw n r keine* Rolle. ermene4 Ü leu fu n g ^ j so n e und . ' 1Jn schichte tra eV e tr^ e n; > Romantii, e ssio n isn ^ ’ B e g riff de' h g än g ig au^ 1 Merkmale, ästhetischen - im Metho, M od us der e kennzeich1 zu, und es dadurch als alkategorien /ahrDie als irgendein alter Meister. Vor dem Original hat man licllCr rld wirklich dieser Gruppe auf dem Balkon gegenüberzudas G d *v :csc Beschreibung reflektiert auf die wichtigsten impresstchcn; , enlprinzipien, aber nur so weit sie auf eine sensualistisi0niSThcoric bezogen werden.

A b stra k te r < . /‘f17. Ji« ^ > “V -ff* Ad* '" i > V/t.. behauptet“ falso nicht „verw irft“;, was, wi(: Z * V . ----- uu _ :en Logik, syntaktische Beziehungen zwischen dernen dien“ zum -Ausdruck bringt. ,, (<^\ des Satzes als solchen invariant läßt. ,^ einer beliebig von ihr verschiedenen Ausdrucksart, wenn diese nur gleichfalls zutreffend ist“, wie H. Scholz im Anschluß an Pregt den eigentlichen Schöpfer der modernen Aussagenlogik, cs formu liert hat. Was Bill also „Konkretion“ nennt, besteht in der Dar­ Stellung eines „Gedankens“, hier eines abstrakten, in einer zutrefrenden Ausdrucksart.

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