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Wittgenstein on musical depth and our knowledge of humankind

In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Cham: Palgrave-Macmillan. pp. 217-247 (2017)

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  1. (1 other version)59. Sources of the Self: The Making of the Modern Identity.Charles Taylor - 2014 - In Bernard Williams (ed.), Essays and Reviews: 1959-2002. Princeton: Princeton University Press. pp. 301-311.
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  • The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics.Eran Guter - 2015 - Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  • The “middle wittgenstein”: From logical atomism to practical holism.David Stern - 1991 - Synthese 87 (2):203 - 226.
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  • Schopenhauer’s Influence on Wittgenstein.Severin Schroeder - 2011 - In Bart Vandenabeele (ed.), A Companion to Schopenhauer. Malden, MA: Wiley-Blackwell. pp. 367-385.
    This chapter contains sections titled: I II III IV V Notes References.
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