Wittgenstein demystified the notion of 'observational self-knowledge'. He dislodged the long-standing conception that we have privileged access to our impressions, sensations and feelings through introspection, and more precisely eliminated knowing as the kind of awareness that normally characterizes our first-person present-tense psychological statements. He was not thereby questioning our awareness of our emotions or sensations, but debunking the notion that we come to that awareness via any epistemic route. This makes the spontaneous linguistic articulation of our sensations and impressions nondescriptive. (...) Not descriptions, but expressions that seem more akin to behaviour than to language. I suggest that Wittgenstein uncovered a new species of speech acts. Far from the prearranged consecration of words into performatives, utterances are deeds through their very spontaneity. This gives language a new aura: the aura of the reflex action. I argue, against Peter Hacker, that spontaneous utterances have the categorial status of deeds. This has no reductive consequences in that I do not suggest that one category is reduced to another, but that the boundary between them is porous. This explodes the myth of an explanatory gap between the traditionally distinct categories of saying (or thinking) and doing, or of mind and body. (shrink)

Today, the notion of identity is usually linked with ethical-political discussions like multiculturalism, gender or sexual diversity, recognition of plurality, etc. Nevertheless, the flourishing of this vision that interprets “identity” mainly in its plural form (as “identities”) contrasts sharply with the sense that “identity” has had during most of the history of philosophy (in which identity was understood in connection with “unity” or “selfsameness”, not with “diversity” or “otherness”). In order to explain the passage from one notion of identity to (...) the other (a passage mainly made in the last third of the 20th century), we will focus on the reflections made by Ludwig Wittgenstein towards the middle of that century. Our contention is that these reflections open the way to a more plural understanding of human identity, against the many interpreters of Wittgenstein that defend the opposite: that he offered a strong notion of common human identity in his writings, a notion based on the idea of “human nature”. In order to sustain our thesis, we will have to give an interpretation of some key terms of Wittgenstein’s philosophy (like “forms of life” or “natural history”) from a pluralistic point of view; this is the only way of understanding to what extent he is a predecessor of contemporary discussions about plural identities. (shrink)

The purpose of this research is to show the relevance of the notion of 'skepticism' for the philosophy of art. From Modernism on, art is plagued by a lack of confidence in the traditional conventions and by an instability of the criteria governing the membership of an object to the category of 'art'. The notion of 'skepticism' is linked to the concept of 'expression': if art faces a form of skepticism, then the emphasis on the personal expression of artists and (...) audiences leads to a solution to the skeptical problem. The dissertation is divided into two parts: The first part, entitled 'Cavell, philosophy and skepticism', is a long Overture. With constant reference to the philosophies of Wittgenstein and Cavell, all the main themes of the dissertation are introduced: modernity and tradition, style and method, skepticism and ordinary, skepticism towards other minds (skepticism and expression). The second part, entitled 'Philosophy of Art and Modernism', isolates a line of thought from the writings of Tolstoy, Wittgenstein and Cavell. The three thinkers apply to art the concepts discussed in the previous part. Tolstoy, Wittgenstein and Cavell are linked by an awareness of a rupture in the relationship between contemporary art and tradition - a fracture that will be easy to recognize as skepticism in the art - and by the discovery of a similar solution. In particular, the notion of 'expression' will solve the skeptical problem. The first part is preparatory to the second because it contains all the themes and the concepts to be applied to art. The second part is analogue to the first: skepticism in the art, in fact, has a profound analogy with skepticism towards other minds. This analogy is made explicit in the conclusion, with a reference to attempts to define art. (shrink)

If I had to say what the single most important contribution Wittgenstein made to philosophy was, it would be to have revived the animal in us: the animal that is there in every fiber of our human being, and therefore also in our thinking and reasoning. This means, his pushing us to realize that we are animals not only genealogically, but as evolved human beings—whether neonate, or language-possessing, civilized, law-abiding, fully fledged adults. Constitutionally, and in everything we do, still fundamentally (...) animals. (shrink)