_Wittgenstein's Art of Investigation_ is one of the first to focus on and provide an original and detailed analysis of Wittgenstein's grammatical investigations. Beth Sarkey offers us new insight into the historical context and influences on method which will help students understand the intricacies and depth of his work.

_Wittgenstein's Art of Investigation_ is one of the first to focus on and provide an original and detailed analysis of Wittgenstein's grammatical investigations. Beth Sarkey offers us new insight into the historical context and influences on method which will help students understand the intricacies and depth of his work.

The concept of übersichtliche Darstellung is of fundamental significance for Wittgenstein . Hacker translates übersichtliche Darstellung as ‘surveyable representation’ and equates it with the tabulation of grammar. He asks what surveyability means, whether examples can be found in Wittgenstein’s work, and why this method characterizes the form of account he gives. Ultimately, however, Hacker is unable to answer these questions and he attributes this failure to Wittgenstein. This paper argues that it is Hacker’s interpretation that fails, and presents an alternate (...) understanding of übersichtliche Darstellung ; one that enables us to answer Hacker’s questions in a manner consistent with Wittgenstein’s philosophical practices. Normal 0 false false false EN-US X-NONE X-NONE. (shrink)

In his article “It's a Wonderful Life,” Ronald Hall connects Wittgenstein's last words with Frank Capra's 1946 film. His analysis focuses on the concept of wonder, but he misses one of the most important aspects of both the film and Wittgenstein's last words: the significance of friendship. This is philosophically (and biographically) important because it raises questions about aspect-seeing, friendship and everyday life. Wittgenstein's final words provide a striking example of the philosophical complexity of his life and work.

This book is a study of Wittgenstein's descriptive, improvisational, and performative art of philosophical investigation. In addition to clarifying the nature of Wittgenstein's grammatical investigations, this study highlights several neglected aspects of his work: its humour and playfulness, its collaborative nature, and its emphasis on the imagination. These aspects often become distorted under the pressure of theory and argumentation, resulting in interpretations that equate grammatical investigation with confession, therapy, or a common sense view of the world. After presenting Wittgenstein's art (...) of investigation in part one, this study challenges these dominant and influential interpretations in part two. The volume examines Wittgenstein's mottos, forewords, and dedications. It looks at the art of his philosophical and grammatical investigations, linking it to drama and improvisation. The book discusses the complexity and subtlety of Wittgenstein's response to Augustine in the opening of the Investigations, and Wittgenstein's response to Moore's defence of common sense in On Certainty. The book also examines three kinds of therapeutic readings: those that compare Wittgenstein's philosophy to psychoanalysis, those that compare his philosophy to therapy generally, and those that describe philosophy itself as an illness or as the cause of illness. (shrink)

In Ludwig Wittgenstein—A Cultural Point of View, William James DeAngelis examines Oswald Spengler's influence on Wittgenstein and Wittgenstein's views on the inexpressibility of religion in language. He connects the two subjects through Spengler's views on cultural decline. DeAngelis faces numerous challenges in his research, not least of which is the relative absence of references to Spengler in Wittgenstein's writings. Although Wittgenstein includes Spengler among those whose thinking he seizes upon with enthusiasm for his work of clarification, he never cites him (...) directly, and it would be difficult to find an author whose style is more dramatically opposed to his own. With the exception of a few parenthetical references in Culture and Value, Wittgenstein equates Spengler's views with distortion and a dogmatism that is to be avoided. DeAngelis avoids these difficulties by only occasionally concerning himself with "the directly expressed content of Wittgenstein's later philosophy" . He views the Investigations as a latent philosophy of culture with a "Spenglerian valence" , and asserts that Wittgenstein's cultural purposes are all. (shrink)

Wendy Lee-Lampshire writes that Wittgenstein’s conception of language has something valuable to offer feminist attempts to construct epistemologies firmly rooted in the social, psychological and physical situations of language users. However, she also argues that his own use of language exemplifies a form of life whose constitutive relationships are enmeshed in forms of power and authority. For example, she interprets the language game of the builders as one of slavery, and questions how we read and respond to it. She asks: (...) “Who are ‘we’ as Wittgenstein’s reader?” This is an important question, and how we answer offers insight not only into our own philosophical practices, but also into Wittgenstein’s use of language games. With the words “Let us imagine...”, Wittgenstein invites readers to participate in creative, collaborative, and improvisational language games that alter not only the texts themselves, but our relationship with others. (shrink)

Wittgenstein plays with language throughout his later philosophy. Imaginary scenes and invented languages turn metaphysical concerns into conceptual play. He sometimes describes his activities as five finger exercises in thinking—exercises that enable us to think differently.

In “Performance Philosophy — Staging a New Field,” Laura Cull approaches performance as a source of philosophical insight and philosophy as a species of performance. This calls for a radical transformation of philosophy and its practices. What form might this take? Wittgenstein’s later philosophy provides one example. The language games presented in the opening remarks of the Philosophical Investigations are meant to be played out. They involve improvisation based on general scenes, stock characters, and linguistic play. When enacted, they are (...) slapstick. As such, they offer a method of philosophical investigation in which clarity and insight are inherent in the performance itself. Wittgenstein’s language games were directly influenced by the subversive practices of Austrian commedia dell’arte and slapstick. By their very nature, they challenge the pretensions of philosophical explanation and theory. Unlike attempts to compare Wittgenstein’s philosophy to theatre, enacting language games is a form of philosophical performance. Andrew Lugg notes that recent attempts to compare Wittgenstein’s philosophy to theatre problematize the opening remarks of the Investigations. However, enacting language games as a form of philosophical performance makes what is hidden, in all of its simplicity and familiarity, obvious, striking, and engaging. (shrink)

Wittgenstein plays with language throughout his later philosophy. Imaginary scenes and invented languages turn metaphysical concerns into conceptual play. He sometimes describes his activities as five finger exercises in thinking—exercises that enable us to think differently.