Results by title

The second of five planned volumes, this book collects Wittgenstein’s unabridged writings on mathematics and logic composed between 1939 and 1941.

In 1956, a significant but abridged portion of Ludwig Wittgenstein’s 1937–1944 writings for a continuation of what became Philosophical Investigations was published as Remarks on the Foundations of Mathematics. Now, in these five German-English facing-page volumes, the writings of Remarks on Mathematics and Logic are presented in full as Wittgenstein wrote them: in chronological order, without editorial omissions, selections, or rearrangements.

Volume III contains materials from 1939 to 1941, including previously unpublished—one manuscript and four manuscript parts—and one manuscript from which selections were made for previous abridgements. 

The topics covered in this volume include surveyability and perspicuity in mathematics; Cantor and Gödel; Russellian logicism; geometrical cogency of proofs; consensus as part of the phenomenon of our calculating; rule-following and unwinding; consistency proofs; calculation as invention rather than discovery; superstitious fear of contradictions; why mathematicians cannot philosophize about mathematics; mathematical propositions are overdetermined; the idea of a mathematical reality; the connection between the sense of a mathematical proposition and its use; positioning a proposition in a system; an unproved mathematical proposition as the expression of a problem; the role of mathematical propositions in descriptions (of reality).

This edition will be the authoritative source for Wittgenstein’s writings in their original context.

Winner of the Latin American Studies Association's 2022 Best Book in Colonial Latin American Studies.

This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.

Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.

Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.