Incorporating significant editorial changes from earlier editions, the fourth edition of Ludwig Wittgenstein's _Philosophical Investigations_ is the definitive _en face_ German-English version of the most important work of 20th-century philosophy The extensively revised English translation incorporates many hundreds of changes to Anscombe’s original translation Footnoted remarks in the earlier editions have now been relocated in the text What was previously referred to as ‘Part 2’ is now republished as _Philosophy of Psychology – A Fragment_, and all the remarks in it (...) are numbered for ease of reference New detailed editorial endnotes explain decisions of translators and identify references and allusions in Wittgenstein's original text Now features new essays on the history of the _Philosophical Investigations_, and the problems of translating Wittgenstein’s text. (shrink)

In this book, translated from the German by the author, Joachim Schulte uses the discussions of psychological concepts in Wittgenstein's late manuscripts as a basis of reconstructing the central arguments and ideas developed by Wittgenstein during that period. This reconstruction yields valuable insights not only in the philosophy of psychology, but also in aesthetics and the theory of meaning.

Zwischen Goethes Morphologiebegriff und Wittgensteins philosophischer Methode bestehen deutliche Parallelen, insofern man sie als Verfahren oder Anleitungen zur Erklärung und Darstellung natürlicher Phänomene (Goethe) bzw. der Begriffsbildung und -Verwendung (Wittgenstein) betrachtet. Den von Goethe als Entwicklungsmodelle und Vergleichshilfen gedeuteten Begriffen "Typus" und "Urbild" entsprechen Wittgensteins "Paradigmen" und "Muster"; beiden geht es um "übersichtliche" Darstellungen, und beide betonen die erklärungsrelevante Rolle der "Urphänomene".

Joachim Schulte’s introduction provides a distinctive and masterful account of the full range of Wittgenstein’s thought. It is concise but not compressed, substantive but not overloaded with developmental or technical detail, informed by the latest scholarship but not pedantic. Beginners will find it accessible and seasoned students of Wittgenstein will appreciate it for the illuminating overview it provides.

Zwischen Goethes Morphologiebegriff und Wittgensteins philosophischer Methode bestehen deutliche Parallelen, insofern man sie als Verfahren oder Anleitungen zur Erklärung und Darstellung natürlicher Phänomene (Goethe) bzw. der Begriffsbildung und -Verwendung (Wittgenstein) betrachtet. Den von Goethe als Entwicklungsmodelle und Vergleichshilfen gedeuteten Begriffen "Typus" und "Urbild" entsprechen Wittgensteins "Paradigmen" und "Muster"; beiden geht es um "übersichtliche" Darstellungen, und beide betonen die erklärungsrelevante Rolle der "Urphänomene".

Partly by way of contrast with a conception described by Kleist, Wittgenstein's notions of world?picture and mythology are explained and three types of statement playing a particularly important role with respect to our world?picture or pictures distinguished. Problems concerning sentences which contain normative elements are discussed and a test for what to count as a statement giving information about our world?picture is proposed. A mythology in Wittgenstein's sense is characterized as a structured, systematic set of models permitting analogical development and (...) the gradual change of previous paradigms. (shrink)

In 1929 Wittgenstein left Vienna for Cambridge, and Waismann grew into the role of spokesman for his absent hero. The story of his relation with the man so greatly esteemed by his much-admired mentor Schlick contains dramatic elements: there were moments of friction and of coldness, announcements of withdrawal from a shared project, accusations of plagiarism or, at least, insuffi cient acknowledgement. What we know of this story has been told by Brian McGuinness and Gordon Baker. If one wishes to (...) gauge the extent to which Waismann succeeded in fulfi lling his task as spokesman for Wittgenstein, one must start from the basic fact that between 1929 and 1936 the two men collaborated, trying to realize the common plan of producing a systematic exposition of Wittgenstein’s philosophy. (shrink)

A surveyable representation produces precisely that kind of understanding which consists in ‘seeing connections’. Most of the sentences that go to make up the remarks of Philosophical Investigations can be found in manuscript passages written in June 1931. On 20 November of the same year Wittgenstein writes a letter in reply to a request from Schlick and complains, not only about his own sluggishness, but also about Waismann's inclination to misrepresent his own ideas. In fact, Spengler says a number of (...) things about Weltanschauungen, and it may well be that several passages could be seen to fill the bill. In a way, nonfactual intermediate links, which begins by mentioning 'hypothetical' connecting links and says that they are merely supposed to draw attention to connections between facts. But an hypothetical connecting link should in this case do nothing but direct the attention to the similarity, the relatedness, of the facts. (shrink)

Wittgenstein's last work, On Certainty , is widely regarded as his third masterpiece of philosophy and one of his most enigmatic writings. On Certainty explores the ways in which claims of indisputable knowledge are expressed, and how language forms the basis of such claims. On Certainty has largely been read as representing a break with Wittgenstein's previous thinking, but this study places these ideas firmly in the development of his thought since the 1930s. Wittgenstein on Certainty and Doubt illuminates Wittgenstein's (...) examination of the logical features of epistemic terms—such as 'know', 'believe' and 'doubt'—and his interrogation of the foundations of human knowledge, the extent to which our knowledge is immune from doubt, and the conflicts between different articulations of knowledge. (shrink)

Das (wie die erhaltenen historischen Belege zeigen) zuerst von Wittgenstein vorgeschlagene Verifikationsprinzip fungiert als Sinnkriterium wie auch als Kriterium der Sinribestimmung. Durch Waismanns Vermittlung wird es in der letzteren Funktion zur ausschließlichen Grundlage von Schlicks Semantik, die jedoch einerseits an ungenügenden Unterscheidungen zwischen Wahrheitsbedingungen, Verifikationsbedmgungen und Verifikationsmethode krankt, andererseits durch eme zu optimistische, die intersubjektive Kontrollierbarkeit entbehrende Sprachauffassung an Überzeugungskraft verliert. Wittgenstems späteres hochkomplexes Bedeutungskonzept, das durch Einbeziehung von Kontext und Äußerungssituation das Verifikationsprinzip zu emem unter mehrerenbedeutungsrelevanten Momenten sprachlicher Äußerungen (...) degradiert, hat Schlick nicht mehr berücksichtigt. (shrink)

I think that our concepts of past and future are so basic and so all-pervasive that I find it difficult to believe that anyone could even begin to make it appear plausible that one could dislodge them from their accustomed habitats. But Michael Dummett, in his paper Bringing about the past, while leaving no doubt about the fact that we are well-advised to leave the past where it belongs, arrives at the conclusion that under very special circumstances one might consider (...) it not completely impossible to regard a situation as one in which the past has been brought about. In spite of Dummett’s very sophisticated arguments I continue to have doubts about this. But before going into these doubts, I shall try to remind you of the substance of Dummett’s paper. (shrink)

Anhand eines Vergleichs mit den Stilbegriffen Spenglers und Goethes lassen sich in Wittgensteins Schriften wenigstens drei Bedeutungen des Wortes "Stil" auseinanderhalten: (1) Stil im Sinne einer individuellen, persönlichen Eigenart; (2) Stil im Sinnes des Geistes einer Kultur oder Epoche; (3) Stil im Sinne einer zeit- oder kulturtypischen Ausdrucksform, die zwar prägend, aber nicht zwingend verbindlich ist. Eine Erörterung des Stils in den Bedeutungen (2) und (3) zeigt, inwieweit dieser Begriff bei Wittgenstein "relativistisch" — d.h. kultur- und epochengebunden — aufgefaßt wird.

This paper is an attempt at bringing out various aesthetically relevant points alluded to by Wittgenstein in what I call ‘the Engelmann remark’ – a longish manuscript remark written by Wittgenstein in 1930 and painstakingly discussed by Michael Fried in the context of elucidating what is strikingly new in the work of a photographer like Jeff Wall. One part of this paper is dedicated to summarizing and briefly examining the account given by Fried while another part is meant to clarify (...) some of Wittgenstein’s points by way of contrasting their import with the story told by Fried. In this second part Wittgenstein’s late observations on aspect change are used to show in which ways these observations may help us to gain a better understanding of the idea of a specific ‘perspective’ claimed to go with a given work of art. (shrink)

This paper aims to clarify certain aspects of the connections between music and (word) language alluded to in various manuscript passages by Wittgenstein. Three points are emphasized: (1) Wittgenstein’s willingness to speak of music as a language; (2) the importance of context; (3) the possibility of distinguishing various ways of explaining our hearing certain sequences of sounds as expressive of gestures or states of mind etc. Several attempts at elucidating the idea of understanding music lead to the realization that, according (...) to Wittgenstein, a prior grasp of his notion of a language-game is required to make headway in this area. (shrink)

It is often claimed that certain remarks by Wittgenstein reveal him to have been an unsympathetic reader of Shakespeare and an unappreciative judge of the latter’s achievements. In the present paper, I attempt to show that this sort of observation is not only wrong but due to an inadequate perspective. An examination of the relevant remarks may bring to light a number of more or less interesting principles of evaluation, or aesthetic maxims and appraisals, but these do not say much (...) about Shakespeare’s works, nor are the meant to be instructive in this way. What Wittgenstein’s remarks are really about is his own intellectual physiognomy: it is by way of contrast, by comparing certain features of Shakespeare with what he supposes to be characteristic of himself, that he hopes to learn about the limits and potentialities of his own personality. (shrink)

Les lettres reproduites ici furent échangées au début de 1935 entre Ludwig et son frère Paul, le pianiste qui avait perdu un bras à la guerre, et dédicataire des concerti pour la main gauche de Ravel et Prokofiev entre autres... La relation entre les deux frères était toute de spontanéité, dénuée de contrainte et de formalisme. Nous verrons en quoi...

Friedrich Waismann (1896–1959) was one of the most gifted students and collaborators of Moritz Schlick. Accepted as a discussion partner by Wittgenstein from 1927 on, he functioned as spokesman for the latter’s ideas in the Schlick Circle, until Wittgenstein’s contact with this most faithful interpreter was broken off in 1935 and not renewed when exile took Waismann to Cambridge. Nonetheless, at Oxford, where he went in 1939, and eventually became Reader in Philosophy of Mathematics (changing later to Philosophy of Science), (...) Waismann made important and independent contributions to analytic philosophy and philosophy of science (for example in relation to probability, causality and linguistic analysis). The full extent of these only became evident later when the larger (unpublished) part of his writings could be studied. His first posthumous work The Principles of Linguistic Philosophy (1965, 2nd edn.1997; German 1976) and his earlier Einführung in das mathematische Denken (1936) have recently proved of fresh interest to the scientific community. This late flowering and new understanding of Waismann’s position is connected with the fact that he somewhat unfairly fell under the shadow of Wittgenstein, his mentor and predecessor. Central to this book about a life and work familiar to few is unpublished and unknown works on causality and probability. These are commented on in this volume, which will also include a publication of new or previously scattered material and an overview of Waismann’s life. (shrink)

Name der Zeitschrift: Wittgenstein-Studien Jahrgang: 5 Heft: 1 Seiten: 133-144.

Das (wie die erhaltenen historischen Belege zeigen) zuerst von Wittgenstein vorgeschlagene Verifikationsprinzip fungiert als Sinnkriterium wie auch als Kriterium der Sinribestimmung. Durch Waismanns Vermittlung wird es in der letzteren Funktion zur ausschließlichen Grundlage von Schlicks Semantik, die jedoch einerseits an ungenügenden Unterscheidungen zwischen Wahrheitsbedingungen, Verifikationsbedmgungen und Verifikationsmethode krankt, andererseits durch eme zu optimistische, die intersubjektive Kontrollierbarkeit entbehrende Sprachauffassung an Überzeugungskraft verliert. Wittgenstems späteres hochkomplexes Bedeutungskonzept, das durch Einbeziehung von Kontext und Äußerungssituation das Verifikationsprinzip zu emem unter mehrerenbedeutungsrelevanten Momenten sprachlicher Äußerungen (...) degradiert, hat Schlick nicht mehr berücksichtigt. (shrink)

The question of who or what the happy man mentioned in Wittgenstein's Tractatus really is leads to a discussion of connected issues, e.g. the question of the Schopenhauerian origins of certain key notions of Wittgenstein's early philosophy, the import of the concept of a world-soul, the topic of solipsism, and the puzzling question of what is involved in the self's identification with the world.

Essays on Wittgensteinian Themes Dedicated to Brian McGuinness Joachim Schulte, Göran Sundholm. PREFACE For thirty-five years the international community of philosophers have known Brian McGuinness as a major authority on the...

Name der Zeitschrift: Nordic Wittgenstein Review Jahrgang: 2 Heft: 1 Seiten: 7-32.