This reissue of an American philosophical classic includes a new preface by Cavell, in which he discusses the work's reception and influence. The work fosters a fascinating relationship between philosophy and literature both by augmenting his philosophical discussions with examples from literature and by applying philosophical theories to literary texts. Cavell also succeeds in drawing some very important parallels between the British analytic tradition and the continental tradition, by comparing skepticism as understood in Descartes, Hume, and Kant with philosophy of (...) language as practiced by Wittgenstein and Austin. (shrink)

Granted a certain depth of accuracy in citing an aspect of Spengler as an enactment of an aspect of Wittgenstein's thought, Wittgenstein's difference from Spengler should have depth. One difference can be characterized by saying that in the Investigations Wittgenstein diurnalizes Spengler's vision of the destiny toward exhausted forms, toward nomadism, toward loss of culture, or of home, or community: he depicts our everyday encounters with philosophy, with our ideals, as brushes with skepticism, wherein the ancient task of philosophy, to (...) awaken us, or bring us to our senses, takes the form of returning us to the everyday, the ordinary, every day, diurnally. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

Ludwig Wittgenstein is perhaps the greatest philosopher of the twentieth century, and certainly one of the most original in the entire Western tradition. Given the inaccessibility of his work, it is remarkable that he has inspired poems, paintings, films, musical compositions, titles of books -- and even novels. In his splendid biography, Ray Monk has made this very compelling human being come alive in a way that perfectly explains the fascination he has evoked. Wittgenstein's life was one of great moral (...) and spiritual depth. Although his work addresses problems of logic, language, mind, and knowledge, he often described it as having an ethical point, and once said that he "could not help seeing every problem from a religious point of view." In successfully bridging the gap assumed by many to exist between Wittgenstein's life and his work, Monk's biography helps to explain the interest in Wittgenstein's later philosophy on the part of Buddhist scholars. (shrink)

In this book, the distinguished historian Carl Schorske--author of the Pulitzer Prize-winning Fin-de-Siécle Vienna--draws together a series of essays that reveal the changing place of history in nineteenth-and twentieth-century cultures. In most intellectual and artistic fields, Schorske argues, twentieth-century Europeans and Americans have come to do their thinking without history. Modern art, modern architecture, modern music, modern science--all have defined themselves not as emerging from or even reacting against the past, but as detached from it in a new, autonomous cultural (...) space. This is in stark contrast to the historicism of the nineteenth century, he argues, when ideas about the past pervaded most fields of thought from philosophy and politics to art, music, and literature. However, Schorske also shows that the nineteenth century's attachment to thinking with history and the modernist way of thinking without history are more than just antitheses. They are different ways of trying to address the problems of modernity, to give shape and meaning to European civilization in the era of industrial capitalism and mass politics. Schorske begins by reflecting on his own vocation as it was shaped by the historical changes he has seen sweep across political and academic culture. Then he offers a European sampler of ways in which nineteenth-century European intellectuals used conceptions of the past to address the problems of their day: the city as community and artifact; the function of art; social dislocation. Narrowing his focus to Fin-de-Siécle Vienna in a second group of essays, he analyzes the emergence of ahistorical modernism in that city. Against the background of Austria's persistent, conflicting Baroque and Enlightenment traditions, Schorske examines three Viennese pioneers of modernism--Adolf Loos, Gustav Mahler, and Sigmund Freud--as they sought new orientation in their fields. In a concluding essay, Schorske turns his attention to thinking about history. In the context of a postmodern culture, when other disciplines that had once abandoned history are discovering new uses for it, he reflects on the nature and limits of history for the study of culture. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Peter Finch's translation of Wittgenstein's remarks on culture and value presents all entries chronologically, with the German text alongside the English and a subject index for reference. "It was Wittgenstein's habit to record his thoughts in sequences of more or less closely related 'remarks' which he kept in notebooks throughout his life. The editor of this collection has gone through these notebooks in order to select those 'remarks' which deal with Wittgenstein's views abou the less technical issues in his philosophy. (...) So here we have Wittgenstein's thoughts about religion, music, architecture, the nature of philosophy, the spirit of our times, genius, being Jewish, and so on. The work is a masterpiece by a mastermind."—Leonard Linsky. (shrink)

Selections from the notebooks of the distinguished philosopher discuss subjects such as music, religion, thinking, science, architecture, and civilization.

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud (to whom reference was made in the course on aesthetics) between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little (...) is known of Wittgenstein's views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his Tractatus and Philosophical Investigations a little formidable. (shrink)

Zettel, an en face bilingual edition, collects fragments from Wittgenstein's work between 1929 and 1948 on issues of the mind, mathematics, and language.

When in May 1930, the Council of Trinity College, Cambridge, had to decide whether to renew Wittgenstein's research grant, it turned to Bertrand Russell for an assessment of the work Wittgenstein had been doing over the past year. His verdict: "The theories contained in this new work . . . are novel, very original and indubitably important. Whether they are true, I do not know. As a logician who likes simplicity, I should like to think that they are not, but (...) from what I have read of them I am quite sure that he ought to have an opportunity to work them out, since, when completed, they may easily prove to constitute a whole new philosophy." "[ Philosophical Remarks ] contains the seeds of Wittgenstein's later philosophy of mind and of mathematics. Principally, he here discusses the role of indispensable in language, criticizing Russell's The Analysis of Mind . He modifies the Tractatus 's picture theory of meaning by stressing that the connection between the proposition and reality is not found in the picture itself. He analyzes generality in and out of mathematics, and the notions of proof and experiment. He formulates a pain/private-language argument and discusses both behaviorism and the verifiability principle. The work is difficult but important, and it belongs in every philosophy collection."--Robert Hoffman, Philosophy "Any serious student of Wittgenstein's work will want to study his Philosophical Remarks as a transitional book between his two great masterpieces. The Remarks is thus indispensible for anyone who seeks a complete understanding of Wittgenstein's philosophy."--Leonard Linsky, American Philosophical Association. (shrink)

ABSTRACTThis article retrieves, situates, and interprets Ludwig Wittgenstein's overlooked remarks about the composer Gustav Mahler, and connects them with Wittgenstein's philosophical perspective and practice, as well as with his musical aesthetics.

This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function, unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein back (...) to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies. (shrink)

This handsome new edition of Stanley Cavell's landmark text, first published 20 years ago, provides a new preface that discusses the reception and influence of his work, which occupies a unique niche between philosophy and literary studies.

Peter Winch's translation of Wittgenstein's remarks on culture and value presents all entries chronologically, with the German text alongside the English and a subject index for reference. "It was Wittgenstein's habit to record his thoughts in sequences of more or less closely related 'remarks' which he kept in notebooks throughout his life. The editor of this collection has gone through these notebooks in order to select those 'remarks' which deal with Wittgenstein's views abou the less technical issues in his philosophy. (...) So here we have Wittgenstein's thoughts about religion, music, architecture, the nature of philosophy, the spirit of our times, genius, being Jewish, and so on. The work is a masterpiece by a mastermind."—Leonard Linsky. (shrink)

pt. 1. The proposition and its sense.--pt. 2. On logic and mathematics.

Long awaited by the scholarly community, Wittgenstein's so-called Big Typescript (von Wright Catalog # TS 213) is presented here in an en face English–German scholar’s edition. Presents scholar’s edition of important material from 1933, Wittgenstein’s first efforts to set out his new thoughts after the publication of the Tractatus Logico Philosophicus. Includes indications to help the reader identify Wittgenstein’s numerous corrections, additions, deletions, alternative words and phrasings, suggestions for moves within the text, and marginal comments.

The Voices of Wittgenstein brings for the first time, in both the original German and in English translation, over one hundred short essays in philosophical logic and the philosophy of mind. This text is of key historical importance to understanding Wittgenstein's philosophical thought and development in the 1930's. Transcribed from the papers of Friedrich Waismann and dating from 1932 to 1935, the majority are highly important dictations by Wittgenstein to Waismann. It also includes texts of redrafted material by Waismann, closely (...) based on these dictations. (shrink)

This book comprises material on colour which was written by Wittgenstein in the last eighteen months of his life. It is one of the few documents which shows him concentratedly at work on a single philosophical issue. The principal theme is the features of different colours, of different kinds of colour (metallic colour, the colours of flames, etc.) and of luminosity—a theme which Wittgenstein treats in such a way as to destroy the traditional idea that colour is a simple and (...) logically uniform kind of thing. This edition consists of Wittgenstein's basic German text, together with an English translation. (shrink)

Essays offer a glimpse of the Vienna-born philosopher's personality, character, and life's work.