Abstract

Wittgenstein's middle period work has been brought into the current debate on rule following and representation by Kripke and the Hintikkas. In my dissertation, I argue that approaches which aim at a consistent reconstruction of Wittgenstein's argument, while valuable in their own right, fail to do justice to his focus on the conflicting intuitions that lie behind philosophical theory building. For this hidden and ambiguous side to his thought is the turning point in his philosophical development. ;One can summarise my findings as follows: In 1929, Wittgenstein recognised that the analysis of colour propositions forced him to give up the Tractarian doctrine that analysis must end in logically independent elementary propositions. From this point, his work branched out in two main directions. On the one hand, he worked on 'philosophical grammar': analyses of the rules we follow in talking about such matters as colour, visual experience, intention, time, memory and the philosophical subject. Here, the picture theory provided the basis for an account of how the mind represents the world. On the other hand, he also thought of language as a 'secondary' system, to be contrasted with direct apprehension of the 'primary' phenomena. This view, which is set out most fully in several chapters of an unpublished typescript , led to a seemingly inexpressible solipsism on which 'all is in flux.' The attempt to reconcile the two conceptions of the pictorial analogy--language as a system of representational conventions and experience as a direct presentation of the phenomena--ultimately led him to see the dangers in that analogy and thus to his later notion of a 'philosophical picture.'.