Among the best-represented authors in Samuel Beckett’s library was Ludwig Wittgenstein, yet the philosopher’s relevance to the Nobel laureate’s work is scarcely acknowledged and seldom elucidated. Beckett after Wittgenstein is the first book to examine Beckett’s formative encounters with, and profound affinities to, Wittgenstein’s thought, style, and character.
While a number of influential critics, including the philosopher Alain Badiou, have discerned a transition in Beckett’s work beginning in the late 1950s, Furlani is the first to identify and clarify how this change occurs in conjunction with the writer’s sustained engagement with Wittgenstein’s thought on, for example, language, cognition, subjectivity, alterity, temporality, belief, hermeneutics, logic, and perception. Drawing on a wealth of Beckett’s archival materials, much of it unpublished, Furlani’s study reveals the extent to which Wittgenstein fostered Beckett’s views and emboldened his purposes.
In the most comprehensive account to date of Walter Benjamin’s philosophy of language, Alexander Stern explores the nature of meaning by putting Benjamin in dialogue with Wittgenstein.
Known largely for his essays on culture, aesthetics, and literature, Walter Benjamin also wrote on the philosophy of language. This early work is famously obscure and considered hopelessly mystical by some. But for Alexander Stern, it contains important insights and anticipates—in some respects surpasses—the later thought of a central figure in the philosophy of language, Ludwig Wittgenstein.
As described in The Fall of Language, Benjamin argues that “language as such” is not a means for communicating an extra-linguistic reality but an all-encompassing medium of expression in which everything shares. Borrowing from Johann Georg Hamann’s understanding of God’s creation as communication to humankind, Benjamin writes that all things express meanings, and that human language does not impose meaning on the objective world but translates meanings already extant in it. He describes the transformations that language as such undergoes while making its way into human language as the “fall of language.” This is a fall from “names”—language that responds mimetically to reality—to signs that designate reality arbitrarily.
While Benjamin’s approach initially seems alien to Wittgenstein’s, both reject a designative understanding of language; both are preoccupied with Russell’s paradox; and both try to treat what Wittgenstein calls “the bewitchment of our understanding by means of language.” Putting Wittgenstein’s work in dialogue with Benjamin’s sheds light on its historical provenance and on the turn in Wittgenstein’s thought. Although the two philosophies diverge in crucial ways, in their comparison Stern finds paths for understanding what language is and what it does.
Approaching the study of literature as a unique form of the philosophy of language and mind—as a study of how we produce nonsense and imagine it as sense—this is a book about our human ways of making and losing meaning. Brett Bourbon asserts that our complex and variable relation with language defines a domain of meaning and being that is misconstrued and missed in philosophy, in literary studies, and in our ordinary understanding of what we are and how things make sense. Accordingly, his book seeks to demonstrate how the study of literature gives us the means to understand this relationship.
The book itself is framed by the literary and philosophical challenges presented by Joyce’s Finnegans Wake and Wittgenstein’s Philosophical Investigations. With reference to these books and the problems of interpretation and meaning that they pose, Bourbon makes a case for the fundamental philosophical character of the study of literature, and for its dependence on theories of meaning disguised as theories of mind. Within this context, he provides original accounts of what sentences, fictions, non-fictions, and poems are; produces a new account of the logical form of fiction and of the limits of interpretation that follow from it; and delineates a new and fruitful domain of inquiry in which literature, philosophy, and science intersect.
In this highly original study of the nature of performance, Spencer Golub uses the insights of Ludwig Wittgenstein into the way language works to analyze the relationship between the linguistic and the visual in the work of a broad range of dramatists, novelists, and filmmakers, among them Richard Foreman, Mac Wellman, Peter Handke, David Mamet, and Alfred Hitchcock. Like Wittgenstein, these artists are concerned with the limits of language’s representational capacity. For Golub, it is these limits that give Wittgenstein’s thought a further, very personal significance—its therapeutic quality with respect to the Obsessive Compulsive Disorder from which he suffers.
Underlying what Golub calls “performance behavior” is Wittgenstein’s notion of “pain behavior”—that which gives public expression to private experience. Golub charts new directions for exploring the relationship between theater and philosophy, and even for scholarly criticism itself.
In Kafka and Wittgenstein, Rebecca Schuman undertakes the first ever book-length scholarly examination of Ludwig Wittgenstein’s philosophy of language alongside Franz Kafka’s prose fiction. In groundbreaking readings, she argues that although many readers of Kafka are searching for what his texts mean, in this search we are sorely mistaken. Instead, the problems and illusions we portend to uncover, the im-portant questions we attempt to answer—Is Josef K. guilty? If so, of what? What does Gregor Samsa’s transformed body mean? Is Land-Surveyor K. a real land surveyor?— themselves presuppose a bigger delusion: that such questions can be asked in the first place. Drawing deeply on the entire range of Wittgenstein’s writings, Schuman can-nily sheds new light on the enigmatic Kafka.
“I can work best now while peeling potatoes. . . . It is for me what lens-grinding was for Spinoza.”—L. Wittgenstein
More than 250 years separate the publication of Baruch Spinoza’s Ethics and Ludwig Wittgenstein’s Tractatus Logico-Philosophicus. Both are considered monumental philosophical treatises, produced during markedly different times in human history, and notoriously challenging to interpret. In Peeling Potatoes or Grinding Lenses, Aristides Baltas contends that these works bear a striking similarity based on the idea of “radical immanence.” Each purports to understand the world, thought, and language from the inside and in a way leading to the dissolution of all philosophy. In that guise, both offer a powerful argument against fundamentalism of all sorts and kinds.
To Spinoza, God is just Nature. God is not above or separate from the world, humanity, or mere objects for, as Nature, He inheres in everything. To Wittgenstein, logic is not above or separate from language, thought, and the world. The hardness of the logical “must” inheres in states of affairs, facts, thoughts, and linguistic acts. Outside there are no truths or sense—only nonsense.
Through close readings of the texts based on lessons drawn from radical paradigm change in science, Baltas finds in both works a single-minded purpose, implacable reasoning, and an austerity of style that are rare in the history of philosophy. He analyzes the structure and content of each treatise, the authors’ intentions, the limitations and possibilities afforded by scientific discovery in their respective eras, their radical opposition to prevailing philosophical views, and draws out the particulars, as well as the implications, of the arresting match between the two.
This volume, published on the fiftieth anniversary of Wittgenstein's death, brings together thirteen of Crispin Wright's most influential essays on Wittgenstein's later philosophies of language and mind, many hard to obtain, including the first publication of his Whitehead Lectures given at Harvard in 1996.
Organized into four groups, the essays focus on issues about following a rule and the objectivity of meaning; on Saul Kripke's contribution to the interpretation of Wittgenstein; on privacy and self-knowledge; and on aspects of Wittgenstein's philosophy of mathematics. Wright uses the cutting edge of Wittgenstein's thought to expose and undermine the common assumptions in platonistic views of mathematical and logical objectivity and Cartesian ideas about self-knowledge. The great question remains: How to react to the demise of these assumptions? In response, the essays develop a concerted, evolving approach to the possibilities--and limitations--of constructive philosophies of mathematics and mind. Their collection constitutes a major statement by one of Britain's most important philosophers--and will provide an indispensable tool both for students of Wittgenstein and for scholars working more generally in the metaphysics of mind and language.
In Reading Wittgenstein with Anscombe, Going On to Ethics, Cora Diamond follows two major European philosophers as they think about thinking, as well as about our ability to respond to thinking that has miscarried or gone astray. Acting as both witness to and participant in the encounter, Diamond provides fresh perspective on the importance of the work of these philosophers and the value of doing philosophy in unexpected ways.
Diamond begins with the Tractatus (1921), in which Ludwig Wittgenstein forges a link between thinking about thought and the capacity to respond to misunderstandings and confusions. She then considers G. E. M. Anscombe’s An Introduction to Wittgenstein’s Tractatus (1959), in which Anscombe, through her engagement with Wittgenstein, further explores the limits of thinking and the ability to respond to thought that has gone wrong. Anscombe’s book is important, Diamond argues, in challenging contemporary assumptions about what philosophical problems are worth considering and about how they can be approached. Through her reading of the Tractatus, Anscombe exemplified an ethics of thinking through and against the grain of common preconceptions. The result drew attention to the questions that mattered most to Wittgenstein and conveyed with great power the nature of his achievement.
Diamond herself, in turn, challenges Anscombe on certain points, thereby further carrying out just the kind of ethical work Wittgenstein and Anscombe each felt was crucial to getting things right. Through her textured engagement with her predecessors, Diamond demonstrates what genuinely independent thought is able to achieve.
Contributors. Larry Churchill, David DeGrazia, Cora Diamond, James Edwards, Carl Elliott, Grant Gillett, Paul Johnston, Margaret Olivia Little, James Lindemann Nelson, Knut Erik Tranoy
Searching for rigor and a clear grasp of the essential features of their objects of investigation, philosophers are often driven to exaggerations and harmful simplifications. According to Ludwig Wittgenstein’s provocative suggestion, this has to do with confusions relating to the status of philosophical statements. The Struggle against Dogmatism elucidates his view that there are no theses, doctrines, or theories in philosophy. Even when this claim is taken seriously, explanations of what it means are problematic—typically involving a relapse to theses. This book makes Wittgenstein’s philosophical approach comprehensible by presenting it as a response to specific problems relating to the practice of philosophy, in particular the problem of dogmatism.
Although the focus of this book is on Wittgenstein’s later work, Oskari Kuusela also discusses Wittgenstein’s early philosophy as expressed in the Tractatus, as well as the relation between his early and later work. In the light of this account of Wittgenstein’s critique of his early thought, Kuusela is able to render concrete what Wittgenstein means by philosophizing without theses or theories. In his later philosophy, Kuusela argues, Wittgenstein establishes a non-metaphysical (though not anti-metaphysical) approach to philosophy without philosophical hierarchies. This method leads to an increase in the flexibility of philosophical thought without a loss in rigor.
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.
Although Wittgenstein claimed that his first book, the Tractatus Logico-Philosophicus, was essentially an ethical work, it has been viewed insistently as a purely logical one. His later work, Philosophical Investigations, is generally seen as presenting totally different ideas from his earlier writings. In this book, Michael Hodges shows how Wittgenstein’s later work emerged from his earlier Tractatus, and he unifies the early philosophy, both its well-known logical aspects and the lesser known ethical dimensions, in terms of the notion of transcendence.
Hodges studies the Tractatus in light of Wittgenstein’s own claim that the Philosophical Investigations can only be understood when read against the background of the Tractatus. At the heart of an understanding of the earlier work is the idea of transcendence which structures both Wittgenstein’s logical and ethical insights. Seen in terms of this notion, the rigorous unity of Wittgenstein’s early thinking becomes apparent and the gestalt shift to the later philosophy comes clearly into focus.
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