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In this highly original interdisciplinary study incorporating close readings of literary texts and philosophical argumentation, Henry W. Pickford develops a theory of meaning and expression in art intended to counter the meaning skepticism most commonly associated with the theories of Jacques Derrida. Pickford arrives at his theory by drawing on the writings of Wittgenstein to develop and modify the insights of Tolstoy’s philosophy of art. Pickford shows how Tolstoy’s encounter with Schopenhauer’s thought on the one hand provided support for his ethical views but on the other hand presented a problem, exemplified in the case of music, for his aesthetic theory, a problem that Tolstoy did not successfully resolve. Wittgenstein’s critical appreciation of Tolstoy’s thinking, however, not only recovers its viability but also constructs a formidable position within contemporary debates concerning theories of emotion, ethics, and aesthetic expression.
The greatest novelist of all time retells the greatest story ever told, the life of Jesus Christ, in The Gospel in Brief—Leo Tolstoy’s riveting, novelistic integration of the four Gospels into a single, twelve-chapter narrative. Virtually unknown to English readers until now, Dustin Condren’s groundbreaking translation from the Russian opens a precious new world of Tolstoy’s masterful literary talent to fans of War and Peace and Anna Karenina.
This book explores Wittgenstein's conception of ethics, religion and philosophy. It aims at providing us with the tools necessary for assessing to what extent the Austrian philosopher can be considered an anti-Enlightenment thinker. The articles collected in this volume explore the relationship between Wittgenstein's thought and that of several authors who were, in various ways, key to the counter-enlightenement, authors such as Hume, Schopenhauer, Nietzsche, Tolstoy, James and Pierce. One of the central issues examined here is Wittgenstein's opposition to the Cartesian method of doubt – a cornerstone of the enlightened movement against prejudice and superstition.
Though Wittgenstein wrote on the same subjects that dominate the work of other analytic philosophers - the nature of logic, the limits of language, the analysis of meaning - he did so in a peculiarly poetic style that separates his work sharply from that of his peers and makes the question of how to read him particularly pertinent. At the root of Wittgenstein's thought, Ray Monk argues, is a determination to resist the scientism characteristic of our age, a determination to insist on the integrity and the autonomy of non-scientific forms of understanding. The kind of understanding we seek in philosophy, Wittgenstein tried to make clear, is similar to the kind we might seek of a person, a piece of music, or, indeed, a poem. Extracts are taken from Tractatus Logico-Philosophicus and from a range of writings, including Philosophical Investigations, The Blue and Brown Books and Last Writings on the Philosophy of Psychology.
Mysticism and Architecture: Wittgenstein and the Palais Stonborough is a multi-disciplinary study of the Viennese palais that the philosopher Ludwig Wittgenstein helped design and build for his sister shortly after he abandoned philosophy for more practical activities and during the period that supposedly separates his 'early' from his 'late' philosophy. Weaving together discussions of a number of social, political, and cultural developments that helped to give fin-de-si_cle Vienna its character -- including the late modernization of Austrian society, industry, and economy; the construction of Vienna's Ringstrasse; the slow decay of the Hapsburg monarchy; and the failure of Austrian liberalism; as well as Tolstoy's religiously-based ethical views; Adolf Loos's critique of architectural ornament; Karl Kraus's analysis of Vienna's decadence; Kierkegaard's and Nestroy's views on the importance of indirect communication; Otto Weininger's theory of the nature and duty of genius; Camillo Sitte and Otto Wagner's dispute over good urban form; Schopenhauer's aesthetic theories and his 'Eastern' philosophy of life; and Russell and Frege's philosophical and logical theories -- the book presents a philosophical biography of Wittgenstein reminiscent of, but substantially different from, Janik and Toulmin's Wittgenstein's Vienna. This philosophical biography underpins a new interpretation of the house which argues that the house belongs to neither architectural Modernism, nor Postmodernism, but is instead caught between those two movements. This analysis of the house, in turn, grounds a new interpretation of Wittgenstein's philosophical works that emphasizes their mystical nature and practical purpose. Finally, this interpretation shows the unity of these works while simultaneously suggesting an underlying flaw; namely, that they arise from two fundamentally-opposed worldviews present in Vienna during Wittgenstein's youth, 'aesthetic modernism' and 'critical modernism.'
How Wittgenstein sought a more effective way of reaching his audience by a poetic style of doing philosophy. Ludwig Wittgenstein once said, "Really one should write philosophy only as one writes poetry." In Wittgenstein's Artillery, James Klagge shows how, in search of ways to reach his audience, Wittgenstein tried a more poetic style of doing philosophy. Klagge argues that, deploying this new philosophical "artillery"--Klagge's term for Wittgenstein's methods of influencing his readers and students--Wittgenstein moved from an esoteric mode to an evangelical mode, aiming for an effect on his audience that was noncognitive, appealing to the temperament in addition to the intellect. Wittgenstein was an artillery spotter--directing artillery fire to targets--in the Austrian army during World War I, and Klagge argues that, years later, he became a philosophical spotter, struggling to find the right artillery to accomplish his philosophical purpose. Klagge shows how Wittgenstein's work with his students influenced his style of writing philosophy and motivated him to care about the effect of his ideas on his audience. To illustrate Wittgenstein's evolving approach, Klagge draws on not only Wittgenstein's best-known works but also such lesser-known material as notebooks, dictations, lectures, and recollections of students. Klagge then goes beyond Wittgenstein to present a range of literature--biblical parables and children's stories, Dostoevsky and Tolstoy, Kierkegaard and Nietzsche--as other examples of the poetic approach. He concludes by offering his own attempts at a poetic approach to addressing philosophical issues.
Ludwig Wittgenstein's Tractatus Logico-Philosophicus (1922) remains one of the most enigmatic works of twentieth century thought. In this bold and original new study, Ben Ware argues that Wittgenstein's early masterpiece is neither an analytic treatise on language and logic, nor a quasi-mystical work seeking to communicate 'ineffable' truths. Instead, we come to understand the Tractatus by grasping it in a twofold sense: first, as a dialectical work which invites the reader to overcome certain 'illusions of thought'; and second as a modernist work whose anti-philosophical ambition is intimately tied to its radical aesthetic character. By placing the Tractatus in the force field of modernism, Dialectic of the Ladder clears the ground for a new and challenging exploration of the work's ethical dimension. It also casts new light upon the cultural, aesthetic and political significances of Wittgenstein's writing, revealing hitherto unacknowledged affinities with a host of philosophical and literary authors, including Hegel, Kierkegaard, Marx, Nietzsche, Adorno, Benjamin, and Kafka.
This book explores the idea that there is a certain performativity of thought connecting Kant’s Critique of Pure Reason and Wittgenstein’s Tractatus Logico-Philosophicus. On this view, we make judgments and use propositions because we presuppose that our thinking is about something, and that our propositions have sense. Kant’s requirement of an a priori connection between intuitions and concepts is akin to Wittgenstein’s idea of the general propositional form as sharing a form with the world. Aloisia Moser argues that Kant speaks about acts of the mind, not about static categories. Furthermore, she elucidates the Tractatus’ logical form as a projection method that turns into a so-called ‘zero method’, whereby propositions are merely the scaffolding of the world. In so doing, Moser connects Kantian reflective judgment to Wittgensteinian rule-following. She thereby presents an account of performativity centering neither on theories nor methods, but on the application enacting them in the first place.
Wittgenstein's thought is reflected in his reading and reception of other authors. Wittgenstein Reading approaches the moment of literature as a vehicle of self-reflection for Wittgenstein. What sounds, on the surface, like criticism (e.g. of Shakespeare) can equally be understood as a simple registration of Wittgenstein's own reaction, hence a piece of self-diagnosis or self-analysis. The book brings a representative sample of authors, from Shakespeare, Goethe, or Dostoyevsky to some that have received far less attention in Wittgenstein scholarship like Kleist, Lessing, or Wilhelm Busch and Johann Nepomuk Nestroy. Furthermore, the volume offers means for the cultural contextualization of Wittgenstein's thoughts. Unique to this book is its internal design. The editors' introduction sets the scene with regards to both biography and theory, while each of the subsequent chapters takes a quotation from Wittgenstein on a particular author as its point of departure for developing a more specific theme relating to the writer in question. This format serves to avoid the well-trodden paths of discussions on the relationship between philosophy and literature, allowing for unconventional observations to be made. Furthermore, the volume offers means for the cultural contextualization of Wittgenstein's thoughts.