Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of one (...) great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism. (shrink)

Multistable figures offer an intriguing model for arbitrating conflicting positions. Moving back and forth between the different aspects under which something can be seen, one recognizes that mutually contradictory descriptions can be equally valid and that disputes over the correct account can be resolved without dissolving differences or establishing a higher synthesis. Yet, the experience of a gestalt switch also offers a model for radical conversions and revolutions – that is, for irreversible leaps to incommensurable alternatives foiling ideals of rational (...) choice while providing the possibility and necessity of decision. Accentuating the temporal dimensions of multistable figures, this multidisciplinary volume illuminates the critical potentials and limits of multistability as a complex figure of thought. (shrink)

In this paper, I aim to explore what role persuasion plays in the early education of children. Advocating Wittgenstein, I claim that persuasion involves imparting to a pupil about a particular world-picture (Weltbild) by showing rather than explaining. This because we cannot introduce a child to the hinges of a world-picture through a discursive argument. I will employ the remarks of Wittgenstein in On Certainty (1969) (OC) to define what persuasion (Überredung) is. I will make use of the notes regarding (...) seeing-an-aspect from the Philosophical Investigations (2009) to clarify such a notion. Afterwards, I will contextualise this in early-childhood education and conclude providing some examples of how persuasion solidifies hinges. (shrink)

Broadly speaking, language is part of a social activity in both Wittgenstein and Xunzi 荀子, and for both clarification of language is central to their philosophical projects; the goal of this article is to explore the extent of resonance and discord that may be found when comparing these two philosophers. While for Xunzi, the rectification of names (zhengming 正名) is anchored in a regard for establishing, propagating, and/or restoring a harmonious social system, perspicuity is for Wittgenstein represented as a philosophical (...) end in itself. The article ventures study in particular the themes of perspicuity and aspect-perception in Wittgenstein together with the topics of correcting names and the cultivation of the heart-mind (xin 心) in the Xunzi. The aspiration of this project is to gain an overview of the role(s) of clarification projects in different philosophical traditions, all while not overlooking the different historical contexts and philosophical ends of these two philosophers. (shrink)

In this paper I will examine the embodied dimension of emotions, and of inner life more generally, according to Wittgenstein’s anti-subjectivistic account of expression. First of all, I will explore Wittgenstein’s critique of a Cartesian disembodied account of the inner life, and the related argument against the existence of a private language. Secondly, I will describe the constitution of inner life as the acquisition of embodied ways of expressing oneself and of responding to others within a shared context, against the (...) background of an inherited weave of cultural expressive practices. Here, I will analyze Wittgenstein’s embodied account of expression, the ‘modified concept of sensing’ and ‘seeing’ which is involved in seeing the emotions of others as their expressions, and consequently Wittgenstein’s critique of an epistemological account concerning our ‘knowledge’ of others’ minds. Finally, with reference to Cavell’s and Mulhall’s readings, I will reflect on the figure of the ‘aspect-blind’, one who ‘just knows’ the emotion of others but cannot acknowledge it, and accordingly is not able to see it as the embodied expression of the other’s inner life. In this way, I wish to argue that Wittgenstein not only calls into question a disembodied account of the inner life from a theoretical point of view, but also shows the ethical consequences of a disembodied account of self through the figure of the aspect-blind. (shrink)