This chapter outlines ways in which Wittgenstein’s opposition to scientism is manifest in his later conception of philosophy and the negative attitude he held toward his times. The chapter tries to make clear how these two areas of Wittgenstein’s thought are connected and reflect an anti-scientistic worldview he held, one intimated in Philosophical Investigations §122. -/- It is argued that the later Wittgenstein’s metaphilosophy is marked out against two scientistic claims in particular. First, the view that the (...) scientific method is superior to all other means of learning or gaining knowledge. Second, the view that scientific knowledge is superior to all other kinds of knowledge and understanding. Wittgenstein’s opposition to these claims is brought out through examining a fundamental aim of his later philosophy, producing the ‘kind of understanding which consists in “seeing connections”’ (PI §122), and his attempts to expose certain philosophical confusions. It is argued that these reflect his antiscientistic worldview. -/- Through discussion of Oswald Spengler’s influence on Wittgenstein, the chapter outlines how Wittgenstein’s opposition to scientism underwrites his negative cultural outlook and how this is connected with the anti-scientistic elements of his later philosophy discussed. The work of Ray Monk (1999; 1990) and Hans-Johann Glock (1996) is instrumental in what follows. (shrink)

It is natural to say that when we acquire a new concept or concepts, or grasp a new theory, or master a new practice, we come to see things in a new way: we perceive phenomena that we were not previously aware of; we come to see patterns or connections that we did not previously see. That natural idea has been applied in many areas, including the philosophy of science, the philosophy of religion, and the philosophy of language. And, in (...) reflecting on the character of philosophy itself, Wittgenstein himself associates the introduction of a new concept in philosophy with the discovery of a new way of looking at things (PI §401), and says that the point of presenting us with an imagined example may be to change our way of looking at things (PI §144). The paper considers four interrelated questions about this association between seeing-as and change, novelty, or innovation. 1. Is there an important difference between the case where the change in someone’s way of seeing things involves the invention or discovery of a completely new concept, a completely new theory etc., and the case where it involves the person’s coming to understand an existing concept or theory? 2. Is there a special connection between seeing-as and conceptual or theoretical change or creativity: a connection that does not obtain between seeing-as and using or applying a familiar theory or system of concepts? 3. In cases where seeing-as is associated with novelty or creativity, is there any sense in which the fact that someone sees things in a new way can help to explain their conceptual or theoretical creativity? 4. To the extent that there is some association between seeing-as and novelty or creativity, why if at all does it matter that one experiences things in a certain way? Would someone who was aspect-blind be any worse off with respect to creativity or innovation than the rest of us? And if so, why? (shrink)

When Wittgenstein started writing the Tractatus in June 1915, he was convinced that he was producing a theory. Accordingly, he chose a theoretical style of expressing his thought. Wittgenstein abandoned this stance only at the end of his work of composing the book. He realized that what he is producing in not a theory but a manual for improving our language and thinking. Unfortunately, it was too late to change the architecture and the style of the book: (...) class='Hi'>Wittgenstein simply had no time to do that. This drawback makes the Tractatus notoriously difficult to understand and is apparently the major factor that caused the so called “Tractarian Wars”. (shrink)

An essay examining logical atomism as it arises in Russell and the early Wittgenstein.

In this paper, I examine Wittgenstein’s conception of reason and rationality through the lens of his conception of reasons. Central in this context, I argue, is the image of the chain, which informs not only his methodology in the form of the chain-method, but also his conception of reasons as linking up immediately, like the links of a chain. I first provide a general sketch of what reasons are on Wittgenstein’s view, arguing that giving reasons consists in making (...) thought and action intelligible by delineating reasoning routes; that something is a reason not in virtue of some intrinsic property, but in virtue of its role; and that citing something as a reason characterises it in terms of the rational relations it stands in according to context-dependent norms. I then argue that on Wittgenstein’s view, we misconceive chains of reasons if we think of them on the model of chains of causes. Chains of reasons are necessarily finite, because they are anchored in and held in place by our reason-giving practices, and it is in virtue of their finitude that chains of reasons can guide, justify and explain. I argue that this liberates us from the expectation that one should be able to give reasons for everything, but that it limits the reach of reasons by tying them to particular reasoning-practices that they cannot themselves justify. I end by comparing and reconciling Wittgenstein’s dichotomy between chains of reasons and chains of causes with seemingly competing construals of the dichotomy, and I clarify its relation to the dichotomy between explanation and justification. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without (...) it he was sure to be misunderstood. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion (...) of pure memory-time entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of (...) language and the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

Part 1 of this paper sketches Wittgenstein’s opposition to scientism in general. Part 2 explores his opposition to scientism in philosophy focusing, in particular, on philosophy of mind; how must philosophy of mind proceed if it is to avoid the kind of scientism that Wittgenstein complains about? Part 3 examines a central anti-scientistic strand in Wittgenstein’s Last Writings on the Philosophy of Psychology volume II: his treatment of the ‘uncertainty’ of the relation between ‘outer’ behaviour and ‘inner’ (...) experiences and mental states. (shrink)

The National Library of Finland and the Von Wright and Wittgenstein Archives at the University of Helsinki keep the collected correspondence of Georg Henrik von Wright, Wittgenstein’s friend and successor at Cambridge and one of the three literary executors of Wittgenstein’s Nachlass. Among von Wright’s correspondence partners, Elizabeth Anscombe and Rush Rhees are of special interest to Wittgenstein scholars as the two other trustees of the Wittgenstein papers. Thus, von Wright’s collections held in Finland promise (...) to shed light on the context of decades of editorial work that made Wittgenstein’s later philosophy available to all interested readers. In this text, we present the letters which von Wright received from Anscombe and Rhees during the first nine months after Wittgenstein’s death. This correspondence provides a vivid picture of the literary executors as persons and of their developing relationships. The presented letters are beautiful examples of what the correspondence as a whole has to offer; it depicts – besides facts of editing – the story of three philosophers, whose conversing voices unfold the human aspects of inheriting Wittgenstein’s Nachlass. Their story does not only deal with editing the papers of an eminent philosopher, but with the attempt to do justice to the man they knew, to his philosophy and to his wishes for publication. (shrink)

This paper offers an interpretation of the later Wittgenstein's handling of the idea of an "essence of human language", and examines in particular his treatment of the 'Augustinean' vision of reference as constituting this "essence". A central theme of the interpretation is the perennial philosophical desire to impose upon linguistic meaning conceptual templates drawn from outside the forms of thought about meaning in which we engage when we exercise our capacity to speak and understand a language. The paper closes (...) with a consideration of ways in which Donald Davidson's generally congenial work on interpretation may diverge from Wittgenstein's thinking in this vicinity. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

This chapter examines Wittgenstein’s battles with the profound anxiety that can arise in response to a sense of the radical contingency of everything one is and everything one cares about. By giving particular attention to entries in Wittgenstein’s ‘Koder Diaries’ from the 1930s, the chapter analyses the nature of ‘the problem of life’ both as it manifested in Wittgenstein’s own life and as a universally relevant problem. It then defends the seriousness of the problem by reconstructing ways (...) in which Wittgenstein might have responded to questions about whether life really is as problematically precarious as his most angst-ridden diary entries seem to presume. (Abstract adapted from Mikel Burley’s ‘Introduction: Wittgenstein, Religion and Ethics: Seeing the Connections’, p. 7). (shrink)

In this paper, I discuss the similarity between Wittgenstein’s use of thought experiments and Relativity Theory. I begin with introducing Wittgenstein’s idea of “thought experiments” and a tentative classification of different kinds of thought experiments in Wittgenstein’s work. Then, after presenting a short recap of some remarks on the analogy between Wittgenstein’s point of view and Einstein’s, I suggest three analogies between the status of Wittgenstein’s mental experiments and Relativity theory: the topics of time dilation, (...) the search for invariants, and the role of measuring tools in Special Relativity. This last point will help to better define Wittgenstein’s idea of description as the core of his philosophical enterprise. (shrink)

Wittgenstein wrote: 'Working in philosophy … is really more a working on oneself. On one's own interpretation. On one's own way of seeing things.' In what sense, for Wittgenstein, is work in philosophy 'work on oneself'? This paper will be devoted to answering this question, and to delineating the moral aspects of this work.

Many theorists have focused on Wittgenstein’s use of examples, but I argue that examples form only half of his method. Rather than continuing the disjointed style of his Cambridge lectures, Wittgenstein returns to the techniques he employed while teaching elementary school. Philosophical Investigations trains the reader as a math class trains a student—‘by means of examples and by exercises’ (§208). Its numbered passages, carefully arranged, provide a series of demonstrations and practice problems. I guide the reader through one (...) such series, demonstrating how the exercises build upon one another and give us ample opportunity to hone our problem-solving skills. Through careful practice, we learn to pass the test Wittgenstein poses when he claims that something is ‘easy to imagine’ (§19). Whereas other critics have viewed the Investigations as merely a diagnosis of our philosophical delusions, I claim that Wittgenstein also writes a prescription for our disease: Do your exercises. (shrink)

Aristotle first investigated different modes, or ways of being. Unfortunately, in the modern literature the discussion of this concept has been largely neglected. Only recently, the interest towards the concept of ways increased. Usually, it is explored in connection with the existence of universals and particulars. The approach we are going to follow in this chapter is different. It discusses Wittgenstein’s conception of higher ontological levels as ways of arranging elements of lower ontological levels. In the Tractatus, Wittgenstein (...) developed his ontology of ways (Art und Weise) in six steps: (i) Constructing states of affairs out of objects; (ii) Constructing propositions out of states of affairs; (iii) Constructing propositional signs; (iv) Constructing thoughts with the help of propositional signs; (v) Constructing truth / falsity; (vi) Constructing works of art. In Philosophical Investigations he added further five ways of producing new ontological levels: (vii) the meaning of a proposition is the way in which it is verified; (viii) the child gets command on language/calculus in the way it replicates demonstrations of the teacher; (ix) the products of mind are ways of doing something; (x) an action is a way of carrying out the instructions for acting. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, (...) the perils of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

My aim in this chapter is to reconstruct Feyerabend’s anti-scientism by comparing it with the similar critiques of one of his main philosophical influences – Ludwig Wittgenstein. I argue that they share a common conception of scientism that gathers around a concern that it erodes a sense of wonder or mystery required for a full appreciation of human existence – a sense that Feyerabend, like Wittgenstein, characterised in terms of the ‘mystical’.

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas (...) about contemporary music and the music of the future. (shrink)

Between April and November 1912, Bertrand Russell and Ludwig Wittgenstein were engaged in a joint philosophical program. Wittgenstein‘s meeting with Gottlob Frege in December 1912 led, however, to its dissolution – the joint program was abandoned. Section 2 of this paper outlines the key points of that program, identifying what Russell and Wittgenstein each contributed to it. The third section determines precisely those features of their collaborative work that Frege criticized. Finally, building upon the evidence developed in (...) the preceding two sections, section 4 recasts along previously undeveloped lines Wittgenstein‘s logical–philosophical discoveries in the two years following his encounter with Frege in 1912. The paper concludes, in section 5, with an overview of the dramatic consequences the Frege-Wittgenstein critique had for Russell‘s philosophical development. (shrink)

This essay is about Wittgenstein, first about his views on ethics, second about his conception of language games. Third, it combines the two and shows how problems arise from this. Wittgenstein rejects theories of ethics and emphasises the variety of language games. Such language games are marked by what I call “inner relativity”. Wittgenstein himself was not a relativist, but it seems to me his views easily lead to what I call “outer relativism”. In matters of ethics (...) this is particularly problematic. (shrink)

In §8 of Remarks on the Foundations of Mathematics (RFM), Appendix 3 Wittgenstein imagines what conclusions would have to be drawn if the Gödel formula P or ¬P would be derivable in PM. In this case, he says, one has to conclude that the interpretation of P as “P is unprovable” must be given up. This “notorious paragraph” has heated up a debate on whether the point Wittgenstein has to make is one of “great philosophical interest” revealing “remarkable (...) insight” in Gödel’s proof, as Floyd and Putnam suggest (Floyd (2000), Floyd (2001)), or whether this remark reveals Wittgenstein’s misunderstanding of Gödel’s proof as Rodych and Steiner argued for recently (Rodych (1999, 2002, 2003), Steiner (2001)). In the following the arguments of both interpretations will be sketched and some deficiencies will be identified. Afterwards a detailed reconstruction of Wittgenstein’s argument will be offered. It will be seen that Wittgenstein’s argumentation is meant to be a rejection of Gödel’s proof but that it cannot satisfy this pretension. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in (...) terms of vertically interrelated language-games which facilitate Menschenkenntnis. (shrink)

In the preface to On Certainty Anscombe and von Wright say that in 1949 Malcolm suggested to Wittgenstein to think again about Moore’s “Defense of Common Sense” (1925) and “Proof of an External World” (1939). Malcolm himself had written on the issue in “Defending Common Sense” (1949). In the preface to the Philosophical Investigations Wittgenstein quotes Nestroy saying that there is usually very little progress in philosophy. But I think some progress has been made from Moore and Malcolm (...) to Wittgenstein regarding skepticism. There is more awareness of practice and perspective and this opens the discussion in novel ways. But it also gives rise to new problems, in particular of morality and relativity. (shrink)

Wittgenstein’s interpreters are undivided that the method plays a central role in his philosophy. This would be no surprise if we have in mind the Tractarian dictum: “philosophy is not a body of doctrine but an activity” (4.112). After 1929, Wittgenstein’s method evolved further. In its final form, articulated in Philosophical Investigations, it was formulated as different kinds of therapies of specific philosophical problems that torment our life (§§ 133, 255, 593). In this paper we follow the changes (...) in Wittgenstein’s thinking in four subsequent phases and in three dimensions: (i) in logic and ontology; (ii) in method proper; (iii) in style. (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge (...) with the main drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial (...) tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

Recent years have seen an increasing amount of studies of the history of the term “religion” and how it figures in conceptions of “the secular” and of cultural differences generally. A recurrent theme in these studies is that “religion” carries associations with Protestant Christianity and thus is not as universal a category as it might appear. The aim of this paper is to explore some resources in Wittgenstein’s philosophy to obtain greater clarity about the contexts of ascription of religion-status (...) to various phenomena and thus to gain perspective on claims made by scholars who investigate the genealogy of the term. While there is good reason to be circumspect about uncritical use of the term “religion” (no less in philosophizing about religions or conducting interreligious dialogue), I argue that instead of abandoning the term or proffering a critical theory of religion, investigation of ascriptions of religion will help philosophers to perceive more clearly the social dynamics that have led to some- one or thing being called religious and thus avoid equivocations that could obstruct the ends of philosophical inquiry or dialogue. (shrink)

Wittgenstein held that Russell’s multiple relation theory of judgment fails to explain an atomic judgment’s representation of entities as combined. He demonstrated this failure as follows. Under the multiple relation theory, an atomic judgment is a complex whose relating relation is judgment, the universal, and whose terms include the entities the judgment represents as combined. Taking such a complex we may arrive through the substitution of constituents at a complex whose relating relation is again judgment but whose terms do (...) not include entities which are logically suited for combination. This second judgment complex will not represent any of its terms as combined, for entities that are logically uncombinable are unrepresentable as combined. Russell’s theory does not, however, explain how the original judgment differs from the complex arrived at by the substitution of constituents such that the former but not the latter represents certain of its terms as combined. (shrink)

The paper investigates the history of the introduction of what was later called “analytic philosophy” in October 1911–May 1912. Despite the fact that Russell and Wittgenstein were in full agreement in their antipathy towards the old-style philosophy, for example, that of Bergson, each had his own conception of the New Philosophy. For Russell, it meant “examined philosophy”, or philosophy advanced through “scientific restraint and balance” of our theoretical conjectures, and resulted in a series of logically correctly constructed theories. For (...) Wittgenstein, it resulted in syncopated, short logical-philosophical “discoveries”. In the years to come, the two conceptions of “rigorous philosophy” embraced by Russell and Wittgenstein often came in conflict. (shrink)

Wittgenstein’s writings and lectures during the first half of the 1930s play a crucial role in any interpretation of the relationship between the Tractatus and the Philosophical Investigations . G. E. Moore’s notes of Wittgenstein’s Cambridge lectures, 1930-1933, offer us a remarkably careful and conscientious record of what Wittgenstein said at the time, and are much more detailed and reliable than previously published notes from those lectures. The co-authors are currently editing these notes of Wittgenstein’s lectures (...) for a book to be published by Cambridge University Press. We describe the materials that make up Moore’s notes, explain their unique value, review the principal editorial challenges that these materials present, and provide a brief outline of our editorial project. (shrink)

This paper is concerned with the issue of authenticity in Wittgenstein’s philosophy of psychology. In the manuscripts published as Letzte Schriften über die Philosophie der Psychologie – Das Innere und das Äußere, the German term Echtheit is mostly translated as ‘genuineness’. In these manuscripts, Wittgenstein frequently uses the term as referring to a feature of the expression of feeling and emotion: -/- […] I want to say that there is an original genuine expression of pain; that the expression (...) of pain therefore is not equally connected to the pain and to the pretence. (LW II, p. 55) -/- “This weeping gives the impression of being genuine” – so there is such a thing as genuine weeping. […]. (LW II, p. 87) -/- […] Genuineness and falseness are not the only essential characteristics of an expression of feeling. […]. (LW II, p. 90) -/- Wittgenstein contrasts the genuineness of the expressions with the possibility that the expressions are feigned. It seems to me that Wittgenstein is trying to discredit a specific version of the sceptical claim that we do not know other minds. I will refer to it as the sceptical innuendo. The sceptical innuendo says that every expression of feeling and emotion may be pretended. Wittgenstein’s approach to the issue reflects his later interest in the philosophy of psychology and, in particular, the problem of the ascription of psychological states (P-ascriptions) on the basis of someone else’s expression of feeling or emotion. Thus, the attempt to reject the sceptical innuendo is done mainly by means of conceptual and psychological arguments. Let’s look at this short dialogue between the sceptic and Wittgenstein. The former asks „How do you know that someone else is in a certain psychological state?“ Wittgenstein’s first reply is „I know that he is glad because I see him“. But the sceptic cannot be very happy with this reply. The sceptic’s next question is: „How do you know that he is really glad and he is not pretending?“ Wittgenstein’s response is not a direct refutation but is composed of a number of related reasons. These may be summed up in three arguments: -/- (i) A psychological argument from the very nature of the expressions. The expressions are meant to be natural symptoms of someone else’s psychological state (P-state). -/- (ii) A conceptual argument about the nature of pretence. It claims that pretence is a psychological property which is rightly ascribed when an observer has evidence for it. -/- (iii) A psychological argument from genuineness. It claims that we are committed to accept people’s expressions of feeling and emotion as genuine. (shrink)

In this paper we put forward the thesis that qualia are tropes (or qualitons), and not (universal) properties. Further, we maintain that Wittgenstein hints in this direction. We also find in Wittgenstein elements of an account of language acquisition that takes the presence of qualia as an enabling condition. We conclude by pointing out some difficulties of this view.

This paper investigates Wittgenstein’s account of the relation between elementary and molecular propositions (and thus, also, the propositions of logic) in the Tractatus Logico-Philosophicus. I start by sketching a natural reading of that relation – which I call the “bipartite reading” – holding that the Tractatus gives an account of elementary propositions, based on the so-called picture theory, and a different account of molecular ones, based on the principle of truth- functionality. I then show that such a reading cannot (...) be attributed to Wittgenstein, because he holds the view that an explanation of logical complexity is already given by a correct account of the (pictorial) nature of elementary propositions; this is implied in his claim that “an elementary proposition contains all logical constants/operations in itself”. After clarifying Wittgenstein’s notion of an operation from the Notes on Logic to the Tractatus, I finally explain why Wittgenstein claims that an elementary proposition contains all logical operations in itself, and hence why he can be said to provide a unified (and thus not bipartite) account of language and logic. (shrink)

In this paper I first discuss the colour-octahedron and the position of this model as an idealized system with respect to the remarks on colour-concepts in Remarks on Colour (RC). The next part examines the notion of aspect seeing in the light of the colour-octahedron and RC. From there a connection is made with On Certainty (OC). By linking the remarks on colour, seeing aspects and certainty, it may become clear that the investigations of Wittgenstein concerning colour and certainty (...) direct us towards a reflective dynamics and an anthropological interpretation of his ideas. (shrink)

Wittgenstein responds in his Notes on Logic to a discussion of Russell's Principles of Mathematics concerning assertion. Russell writes: "It is plain that, if I may be allowed to use the word assertion in a non-psychological sense, the proposition "p implies q" asserts an implication, though it does not assert p or q. The p and the q which enter into this proposition are not strictly the same as the p or the q which are separate propositions." (PoM p35) (...) Wittgenstein replies: "Assertion is merely psychological. In not-p, p is exactly the same as if it stands alone; this point is absolutely fundamental." (NB p95) Wittgenstein's response is intriguing, not least because of the centrality to his Tractatus of the idea that a proposition says something. This paper will examine that idea, distinguishing it from 'merely psychological' assertion, and explore in this context how we should understand the occurrence of a Tractarian proposition within another. (shrink)

This essay is about the inner and the outer in Wittgenstein, in particular his notion of “meaning experience”. Wittgenstein reminds us that we should not think of the inner, psychological the way we think about the outer, physical world. Again and again he keeps returning to certain views about the soul and our mental states. I think that it is not only therapy he has in mind. I will contrast certain aesthetic and ethical aspects of his thoughts with (...) views from Kant. (shrink)

This paper examines the function of language in the domain of education and it‘s vice versa. As we are aware of the fact that language and education are endemic elements of human development and evolution. According to Gandhi, education is the recognition of mind-body, soul and spirit. It is the attainment of the values through morality and ethics. Gandhi accepts communicative aspect of language where as Wittgenstein accepts analytical and conceptual aspect of language. Wittgenstein realized that education is (...) the constituent of what we know, believe and learn. Gandhi asserts on Mother tongue, primary- secondary languages and national languages whereas Wittgenstein emphasis on the natural languages, meta-languages and ideal languages. In this paper I shall demonstrate the problems of language which becomes hurdles in the process of education. For both Gandhi and Wittgenstein, there are problems not in language but in its ordinary usage, speaking, writing, meaning and communication. (shrink)

Although the later Wittgenstein appears as one of the most influential figures in Davidson’s later works on meaning, it is not, for the most part, clear how Davidson interprets and employs Wittgenstein’s ideas. In this paper, I will argue that Davidson’s later works on meaning can be seen as mainly a manifestation of his attempt to accommodate the later Wittgenstein’s basic ideas about meaning and understanding, especially the requirement of drawing the seems right/is right distinction and the (...) way this requirement must be met. These ideas, however, are interpreted by Davidson in his own way. I will then argue that Davidson even attempts to respect Wittgenstein’s quietism, provided that we understand this view in the way Davidson does. Having argued for that, I will finally investigate whether, for Davidson at least, his more theoretical and supposedly explanatory projects, such as that of constructing a formal theory of meaning and his use of the notion of triangulation, are in conflict with this Wittgensteinian quietist view. (shrink)

Wittgenstein’s experiments on rhythm, conducted in Charles Myers’s laboratory in Cambridge during the years 1912–13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications (...) of aspects. Dramatically moving beyond the conceptual limitations, which were inscribed by Charles Myers’s scientific program, Wittgenstein got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in what we actually do when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility, so a new aspect may come to life. (shrink)

What role does ‘ordinary language philosophy’ play in the defense of common sense beliefs? J.L. Austin and Ludwig Wittgenstein each give central place to ordinary language in their responses to skeptical challenges to common sense beliefs. But Austin and Wittgenstein do not always respond to such challenges in the same way, and their working methods are different. In this paper, I compare Austin’s and Wittgenstein’s metaphilosophical positions, and show that they share many metaphilosophical commitments. I then examine (...) Austin and Wittgenstein’s respective takes on the problem of other minds and the problem of our knowledge of the external world. Interestingly, we find Wittgenstein employing methods more frequently associated Austin and vice versa. Moreover, we find that a variety of defenses of common sense beliefs are compatible with ‘ordinary language philosophy.’. (shrink)

A woman is listening to Sinatra before work. As she later describes it, ‘suddenly from nowhere I could hear my mother singing along to it … I was there again home again, hearing my mother … God knows why I should choose to remember that … then, to actually hear her and I had this image in my head … of being at home … with her singing away … like being transported back you know I got one of those (...) … like shivery feelings really suddenly’ (Anderson 2004, 9-10). An older couple, discussing their honeymoon forty years ago, each say that they can’t remember the show they saw, until through iterative, puzzled cross-cuing they finally get there – ‘Desert Song, that’s it’ (Harris et al 2011, 292). An elderly English veteran of a prisoner of war camp in Japan, finishing up morning tea with a young Japanese social scientist interested in reconciliation, suddenly calls out loudly - in Japanese - ‘stand to attention’. He stands to attention in front of her: like many of the men she interviews, he physically re-enacts fragments of that long-past world of the camp, bringing that absent past into this new present context with a visceral shock (Murakami 2001, 2012; Middleton & Brown 2005, 133-136). (shrink)

According to the dominant view, the later Wittgenstein identified the meaning of an expression with its use in the language and vehemently rejected any kind of mentalism or intentionalism about linguistic meaning. I argue that the dominant view is wrong. The textual evidence, which has either been misunderstood or overlooked, indicates that at least since the Blue Book Wittgenstein thought speakers' intentions determine the contents of linguistic utterances. His remarks on use are only intended to emphasize the heterogeneity (...) of natural language. Taking into account remarks written after he finished the Investigations, I show how Wittgenstein anticipated the basic tenets of Gricean intention-based semantics. These are, in particular, the distinction between ‘natural’ and ‘non-natural’ meaning and the distinction between what a speaker means by an utterance and what the expression uttered means in the speaker’s natural language. Importantly, Wittgenstein also believed that only the meaning of the speaker determined the content of ambiguous expressions, such as ‘bank’, on a particular occasion of utterance. (shrink)

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: (a) there are significant parallels to be drawn between Wittgenstein’s (...) and Heidegger’s anti-scientism about aesthetics, and that (b) 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)

This paper aims to exemplify the language acquisition model by tracing back to the Socratic model of language learning procedure that sets down inborn knowledge, a kind of implicit knowledge that becomes explicit in our language. Jotting down the claims in Meno, Plato triggers a representationalist outline basing on the deductive reasoning, where the conclusion follows from the premises (inborn knowledge) rather than experience. This revolution comes from the pen of Noam Chomsky, who amends the empiricist position on the creativity (...) of language by pinning down it with the innateness hypothesis. However, Chomsky never rejects the external world or the linguistic stipulation that relies on the objective reality. Wittgenstein’s model of language acquisition upholds a liaison centric appeal that stands between experience (use theory of meaning) and mentalism (mind based inner experiences). Wittgenstein’s Tractatus never demarcates the definite mental processes that entangle with the method of understanding and meaning. Wittgenstein’s ‘language game’ takes care of the model of language acquisition in a paradigmatic way. The way portrait language as the form of life and the process of language acquisition is nothing but a language game that relies on the activity of men. (shrink)

Remarkably, the theological discourse surrounding Hans Frei and postliberal theology has continued for nearly thirty years since Frei's death. This is due not only to the complex and provocative character of Frei's work, nor only to his influence upon an array of thinkers who went on to shape the theological field in their own right. It is just as indebted to the critical responses that his thinking continues to inspire. One recurrent point of criticism takes aim at Frei's use of (...) Ludwig Wittgenstein's later work for theological ends. In his recent book Liberalism versus Postliberalism: The Great Divide in Twentieth Century Theology, John Allan Knight challenges what he sees as Frei's dependence on problematic Wittgensteinian assumptions. This article raises a few concerns about Knight's charges against Frei. Specifically, I argue that Knight's account tends to conflate the work of Wittgenstein and Frei. It does this by undervaluing two determinative features of Frei's work: (1) its basic Christological orientation; and (2) its Christologically motivated use of ad hoc apologetics. I argue that the Wittgensteinian view that Knight attributes to Frei is not Frei's view at all, and is, moreover, a problematic account of Wittgenstein on its own terms. Finally, Knight's claim that Frei's work “depends upon” and “is suffused” with the understanding of Wittgenstein that Knight attributes to him is based upon an account of Frei's treatment of the sensus literalis that is not entirely accurate. Without question, Knight does remarkable service to Frei's legacy by keeping important debates over his work alive. In what follows, I propose several points where I think Knight's account might be further enriched. The result, I hope, will be a more nuanced understanding of the ways that Frei actually appropriated and deployed Wittgenstein's thought. I will contextualize my account of Frei with reference both to Wittgenstein's writings and the literature surrounding his writings. Setting forth these accounts in tandem should help make further available Wittgenstein's work for subsequent work by postliberal theologians. (shrink)

This paper situates Wittgenstein in what is known as the causalism/anti-causalism debate in the philosophy of mind and action and reconstructs his arguments to the effect that reasons are not a species of causes. On the one hand, the paper aims to reinvigorate the question of what these arguments are by offering a historical sketch of the debate showing that Wittgenstein's arguments were overshadowed by those of the people he influenced, and that he came to be seen as (...) an anti-causalist for reasons that are in large part extraneous to his thought. On the other hand, the paper aims to recover the arguments scattered in Wittgenstein's own writings by detailing and defending three lines of argument distinguishing reasons from causes. The paper concludes that Wittgenstein's arguments differ from those of his immediate successors; that he anticipates current anti-psychologistic trends; and that he is perhaps closer to Davidson than historical dialectics suggest. (shrink)

An essay challenging Cora Diamond's influential approach to reading Wittgenstein's Tractatus. According to Diamond, the Tractatus contains no substantive philosophical theses, but is purely an exercise in the debunking of nonsense. I argue that a convincing case for this claim has not yet been made--either by Diamond herself, or by the numerous defenders of this so-called "resolute" reading. Having critically examined the arguments that have been offered in favor of the resolute reading, I go on to marshal textual evidence--using (...) both published and unpublished sources--supporting the view that Wittgenstein advanced, and indeed took himself to have advanced, a host of substantive philosophical theses even in the (so-called) "body" of the Tractatus. I argue that resolute readers of the Tractatus have not begun to offer a satisfactory explanation of these problematic texts; and I argue that the "frame/body" distinction alleged by resolute readers does not stand up to critical scrutiny. (shrink)

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 between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)