All contributors are academics, no novelists or poets. Wolfgang Huemer’s introduction promises “Wittgensteinian accounts of literature;” the use of “Wittgenstein’s philosophical results to solve problems pertinent to the theory of literature;’” and reflections on literature that “illuminate our understanding of Wittgenstein’s philosophy” (p. In fact, I am inclined to say the two strongest pieces do none of the above.They are: Timothy Gould, "Restlessness and the Achievement of Peace, Writing and Method in Wittgenstein’s Philosophical Investigations“It points toward Wittgenstein’s various affiliations with other forms of writing and culture, particularly the forms that surround and infiltrate his literary education and sensibility …The artists Johannes Flintoe and William Maximilian Carpelan left the mountain from Christiania separately in the summer of 1819.Tags: Graduate Thesis JokesEssay On World Population 2011Neighbours+EssayCollege Essay CritiqueDissertation Acknowledgments SectionA Rose For Emily Essay QuestionKindergarten AssignmentsThesis Statement About Racism
And the title also points toward the literary side of Wittgenstein’s own writing, an aspect of his work that is almost inevitably referred to as its ‘style’.” There is patently a connection; yet “despite various writings on the cultural context of his work, not much has been said that would help us connect the culture that Wittgenstein possessed — and was possessed by — and the forms in which he wrote. I think it is hardly an exaggeration to say there is a hole at the heart of Wittgenstein scholarship, and not just scholarship.
What we do know — for instance, that he was for the most part alienated from the accomplishments of the last half of the nineteenth century — has so far tended to darken, rather than clarify, the philosophical significance of the literary affiliations of his work” (p. Aesthetic (literary, poetic, artistic) receptions and appreciations of Wittgenstein — these come in an astonishing variety of shapes, sounds, sizes and colors — have tended to be aesthetically marred by philosophical weakness. Operating on the assumption that Wittgenstein’s views should guide us (a debatable assumption, yes), we riddle the man’s philosophy, his style, the man himself, together.
Perhaps not, although one contributor, Garry Hagberg, hints astutely (but really only hints) at what I think is a promising line.
In “Autobiographical Consciousness, Wittgenstein, private experience and the ‘inner picture’”, he notes that One crucial way Wittgenstein keeps in adverse philosophical contact with Schopenhauer, I think, is by establishing tension between philosophy as ‘metaphysical autobiography’ and philosophy as ‘ordinary’ self-observation and reportage.
Philosophical approaches have tended to go astray through insufficient attention to genuine aesthetic puzzles posed by Wittgenstein’s style and methods of composition. For good measure here are more: the reason it is crucial to bridge the literary-philosophical gap is that if we could understand why Wittgenstein hybridizes art and analytic philosophy as he does, we would understand him. And this angle, far from narrowing into a cul-de-sac of personal idiosyncrasy, may open chapters of the history of philosophy.
A Nietzschean thought: “Gradually it has become clear to me what every great philosophy so far has been — namely, the personal confession of its author and a kind of involuntary and unconscious memoir.” personal’ is how Gould thumbnails this doubt. Take Arthur Schopenhauer, praised by Thomas Mann as “pre-eminently creative,” an author’s philosopher; mildly but firmly denigrated by Russell: “His appeal has always been less to professional philosophers than to artistic and literary people in search of a philosophy that they could believe.” Mann’s and Russell’s judgments sit side-by-side as blurbs on the back of a book of selections on my shelf: Arthur Schopenhauer, Schopenhauer’s most famous philosophical followers are Nietzsche and Wittgenstein.
I said it would be lonely, and he said he prostituted his mind talking to intelligent people.
I said he was mad, and he said God preserve him from sanity.
These were two essentially different discoveries – carried out by the Norwegian forerunners of national romance and a philosopher in exile from the intellectual metropolises of Vienna and Cambridge.
The pictures of Norway One of the greatest exhibitions of national romantic art opened in June 2019 in the splendor of the Munthe House in Ytre Kroken in Luster.