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 Drawing on a wealth of Beckett’s archival materials, much of it unpublished, Furlani’s study reveals the extent to which Wittgenstein fostered Beckett’s views and emboldened his purposes.

Contributors. Larry Churchill, David DeGrazia, Cora Diamond, James Edwards, Carl Elliott, Grant Gillett, Paul Johnston, Margaret Olivia Little, James Lindemann Nelson, Knut Erik Tranoy

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.