Wittgenstein's contribution to musical aesthetics is not often discussed, which is surprising, given his rare musicality and musical connections. His distinctive achievement is to have focused on the question of musical understanding, and to have connected this with two other philosophical problems: the nature of the first-person case, and the understanding of facial expressions. Wittgenstein's third-person approach to philosophical psychology leads him to emphasize the role of performance in the understanding of music, and also to introduce an ‘intransitive’ concept of (...) expression. At times Wittgenstein seems to be arguing for an entirely non-relational account of musical meaning; however, a proper analysis of the first-person case shows that his theory of musical understanding might allow that, at some level, you understand a piece of music only if you imaginatively grasp the state of mind expressed by it. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

The acknowledged difficulty and even impossibility of finding a literal paraphrase for most metaphors is offered by [Donald] Davidson1 as evidence that there is nothing to be paraphrased - that a sentence says nothing metaphorically that it does not say literally, but rather functions differently, inviting comparisons and stimulating thought. But paraphrase of many literal sentences also is exceedingly difficult, and indeed we may seriously question whether any sentence can be translated exactly into other words in the same or any (...) other language. Let's agree, though, that literal paraphrase of metaphor is on the whole especially hard. That is easily understood since the metaphorical application of terms has the effect, and usually the purpose, of drawing significant boundaries that cut across ruts worn by habit, of picking out new relevant kinds for which we have no simple and familiar literal descriptions. We must note in passing, though, that the metaphorical application may nevertheless be quite clear. For just as inability to define "desk" is compatible with knowing which articles are desks, so inability to paraphrase a metaphorical term is compatible with knowing what it applies to, And as I have remarked elsewhere,2 whether a man is metaphorically a Don Quixote or a Don Juan is perhaps easier to decide than whether he is literally a schizoid or a paranoiac. · 1. In "What Metaphors Mean," Critical Inquiry 5 : 31-47.· 2. In "Stories upon Stories; or, Reality on Tiers," delivered at the conference Levels of Reality, in Florence, Italy, September 1978. Nelson Goodman, emeritus professor of philosophy at Harvard, has written The Structure of Appearance; Fact, Fiction, and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and, most recently, Ways of Worldmaking. His contributions to Critical Inquiry include "The Status of Style" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)