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In this book Martin Klebes investigates the impact of Ludwig Wittgenstein's philosophical work on four contemporary German and French novelists. Literary references both to Wittgenstein as a person, as well as to his work, are much more pervasive than to other equally well-known 20th-century philosophers, and this study seeks to explain why, and to what end. Individual chapters are devoted to an analysis of the role of writing in Wittgenstein's writings, as well as to the literary work of Thomas Bernhard, W.G. Sebald, Jacques Roubaud, and Ernst-Wilhelm Handler. Klebes' readings are situated in an interdisciplinary space between philosophical analysis and literary criticism, and as such also incorporate reflections on conceptual questions in aesthetics, architectural history, philosophy of science, and photography.
Alain Badiou takes on the standard bearer of the “linguistic turn” in modern philosophy, and anatomizes the “anti-philosophy” of Ludwig Wittgenstein, in his Tractatus Logico-Philosophicus. Addressing the crucial moment where Wittgenstein argues that much has to be passed over in silence—showing what cannot be said, after accepting the limits of language and meaning—Badiou argues that this mystical act reduces logic to rhetoric, truth to an effect of language games, and philosophy to a series of esoteric aphorisms. in the course of his interrogation of Wittgenstein’s anti-philosophy, Badiou sets out and refines his own definitions of the universal truths that condition philosophy. Bruno Bosteels’ introduction shows that this encounter with Wittgenstein is central to Badiou’s overall project—and that a continuing dialogue with the exemplar of anti-philosophy is crucial for contemporary philosophy.
Wittgenstein's Mistress is a novel unlike anything David Markson or anyone else has ever written before. It is the story of a woman who is convinced and, astonishingly, will ultimately convince the reader as well that she is the only person left on earth.
It is 1967. In separate wings of a Viennese hospital, two men lie bedridden. The narrator, named Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of the celebrated philosopher Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these two eccentric men begin to discover in each other a possible antidote to their feelings of hopelessness and mortality—a spiritual symmetry forged by their shared passion for music, strange sense of humor, disgust for bourgeois Vienna, and great fear in the face of death. Part memoir, part fiction, Wittgenstein’s Nephew is both a meditation on the artist’s struggle to maintain a solid foothold in a world gone incomprehensibly askew, and a stunning—if not haunting—eulogy to a real-life friendship.
This “wicked, melancholy, and . . . astonishing” novel reimagines the lives of three wildly different men adrift in the 20th century: Ludwig Wittgenstein, Bertrand Russell, and G. E. Moore (Newsday). When Bruce Duffy’s The World As I Found It was first published, critics and readers were bowled over by its daring reimagining of the lives of three very different men, the philosophers Bertrand Russell, G. E. Moore, and Ludwig Wittgenstein. A brilliant group portrait with the vertiginous displacements of twentieth-century life looming large in the background, Duffy’s novel depicts times and places as various as Vienna 1900, the trenches of World War I, Bloomsbury, and the colleges of Cambridge, while the complicated main characters appear not only in thought and dispute but in love and despair. Wittgenstein, a strange, troubled, and troubling man of gnawing contradictions, is at the center of a novel that reminds us that the apparently abstract and formal questions that animate philosophy are nothing less than the intractable matters of life and death.
Wittgenstein's dictionary for children: a rare and intriguing addition to the philosopher's corpus, in English for the first time "I had never thought the dictionaries would be so frightfully expensive. I think, if I live long enough, I will produce a small dictionary for elementary schools. It appears to me to be an urgent need." -Ludwig Wittgenstein In 1925, Ludwig Wittgenstein, arguably one of the most influential philosophers of the 20th century, wrote a dictionary for elementary school children. His Wörterbuch für Volksschulen (Dictionary for Elementary Schools) was designed to meet what he considered an urgent need: to help his students learn to spell. Wittgenstein began teaching kids in rural Austria in 1920 after abandoning his life and work at Cambridge University. During this time there were only two dictionaries available. But one was too expensive for his students, and the other was too small and badly put together. So Wittgenstein decided to write one. Word Book is the first-ever English translation of Wörterbuch. This publication aims to encourage and reinvigorate interest in one of the greatest modern philosophers by introducing this gem of a work to a wider audience. Word Book also explores how Wörterbuch portends Wittgenstein's radical reinvention of his own philosophy and the enduring influence his thinking holds over how art, culture and language are understood. Word Book is translated by writer and art historian Bettina Funcke, with a critical introduction by scholar Désirée Weber, and accompanied with art by Paul Chan. Ludwig Wittgenstein (1889-1951) was an Austrian-born British philosopher, regarded by many as the greatest philosopher of the 20th century. He played a decisive if controversial role in 20th-century analytic philosophy, and his work continues to influence fields as diverse as logic and language, perception and intention, ethics and religion, aesthetics and culture.
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.
The true story of a one-handed pianist and the fall of his aristocratic family.
This book offers a lucid and highly readable account of Wittgenstein's philosophy, framed against the background of his extraordinary life and character. Woven together with a biographical narrative, the chapters explain the key ideas of Wittgenstein's work, from his first book, the Tractatus Logico-Philosophicus, to his mature masterpiece, the Philosophical Investigations. Severin Schroeder shows that at the core of Wittgenstein's later work lies a startlingly original and subversive conception of the nature of philosophy. In accordance with this conception, Wittgenstein offers no new philosophical doctrines to replace his earlier ones, but seeks to demonstrate how all philosophical theorizing is the result of conceptual misunderstanding. He first diagnoses such misunderstanding at the core of his own earlier philosophy of language and then subjects philosophical views and problems about various mental phenomena understanding, sensations, the will to a similar therapeutic analysis. Schroeder provides a clear and careful account of the main arguments offered by Wittgenstein. He concludes by considering some critical responses to Wittgenstein's work, assessing its legacy for contemporary philosophy. Wittgenstein is ideal for students seeking a clear and concise introduction to the work of this seminal twentieth-century philosopher.
“[Perloff] has brilliantly adapted Wittgenstein’s conception of meaning and use to an analysis of contemporary language poetry.” —Linda Voris, Boston Review Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein’s remark that “philosophy ought really to be written only as a form of poetry,” Perloff begins by discussing Wittgenstein the “poet.” What we learn is that the poetics of everyday life is anything but banal. “This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.” —Linda Munk, American Literature “Wittgenstein’s Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds.” —David Clippinger, Chicago Review “Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic . . . Entertaining, witty, and above all highly original.” —Willard Bohn, SubStance