Although at present analytic philosophy is practiced mainly in the English-speaking world, it is to a considerable part the invention of German speakers. Its emergence owes much to Russell, Moore, and American Pragmatism, but even more to Frege, Wittgenstein, and the logical positivists of the Vienna Circle. No one would think of analytic philosophy as a specifically Anglophone phenomenon, if the Nazis had not driven many of its pioneers out of central Europe.

For Arthur Schopenhauer (1788-1860), logic as a discipline belongs to the human faculty of reason, more precisely to the faculty of language. This discipline of logic breaks down into two areas. Logic or analytics is one side of the coin; dialectic or the art of persuasion is the other. The former investigates rule-oriented and monological language. The latter investigates result-oriented language and persuasive language...

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, (...) and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism is tied up with a critique of the reduction of the work of art to an object of aesthetic experience. This leads him to an aletheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein too rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. His appeal to ordinary language provides the backdrop (...) for his critique of the philosophical tradition’s focus on a narrow range of evaluative aesthetic terms, thus excluding most of the language we ordinarily employ in the relevant cases. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein and Heidegger’s anti-scientism about aesthetics, and (b) their anti-scientism leads them towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

In previous research, Schopenhauer is regarded as a consistent representative of a classical picture theory of language. The paper shows, however, that Schopenhauer does not only present a use theory of meaning in his lectures on logic, but also justifies it with the help of the context principle. Furthermore, it is discussed to what extent Schopenhauer's use theory of meaning is similar to the semantic theory of Ludwig Wittgenstein and his successors.

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)