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Full Description
In the last half-century Ludwig Wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged.
Wittgenstein's Tractatus Logico-Philosophicus was published in 1922 — the annus mirabilis of modernism — alongside Joyce's Ulysses, Eliot's The Waste Land, Mansfield's The Garden Party and Woolf's Jacob's Room. Bertolt Brecht's first play to be produced, Drums in the Night, was first staged in 1922, as was Jean Cocteau's Antigone, with settings by Pablo Picasso and music by Arthur Honegger. In different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. Wittgenstein's Tractatus can be read as defining, expressing and reacting to this crisis. In his later philosophy, Wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. If the gist of modernism is self-reflection and attention to the way form expresses content, then Wittgenstein's later ideas — in their fragmented form as well as their "ear-opening" contents — deliver it most precisely.
Understanding Wittgenstein, Understanding Modernism shows Wittgenstein's work, both early and late, to be closely linked to the modernist Geist that prevailed during his lifetime. Yet it would be wrong to argue that Wittgenstein was a modernist tout court. For Wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. It needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. It is such a vision of the linkage between Wittgenstein and modernism that guides the present volume.
Contents
List of Contributors
Abbreviations
Series Preface
Introduction: Giving the Viewer an Idea of the Landscape
Anat Matar (Tel Aviv University, Israel)
Part I - Conceptualizing Wittgenstein
1. Language, Expressibility and the Mystical
John Skorupski (University of St. Andrews, UK)
2. Modernism and Philosophical Language: Phenomenology, Wittgenstein and the Everyday
Oskari Kuusela (University of East-Anglia, UK)
3. Wittgenstein and 'Ordinary Language Philosophy'
Hans-Johann Glock (University of Zurich, Switzerland) and Javier Kalhat (University of Zurich, Switzerland)
4. Wittgenstein's Modernist Political Philosophy
Thomas Wallgren (University of Helsinki, Finland)
5. Too Cavellian a Wittgenstein: Wittgenstein's Certainty, Cavell's Scepticism
Danièle Moyal-Sharrock (University of Hertfordshire, UK)
Part II - Wittgenstein and Aesthetics
6. Wittgenstein, Musil and the Austrian Modernism
Pierre Fasula (Paris 1 Panthéon-Sorbonne, France)
7. 'We should be Seeing Life Itself': Back to the Rough Ground of the Stage
Élise Marrou (Paris Sorbonne University, France)
8. A Confluence of Modernisms: Wittgenstein's Philosophical Investigation and Henry James's Literary Language
Garry L. Hagberg (Bard College, USA)
9. Modernism with Spirit: Wittgenstein and the Sense of the Whole
Antonia Soulez (University Paris-8 St. Denis, France)
10. Wittgenstein and the Art of Defamiliarization
David Schalkwyk (Queen Mary, University of London, UK)
Part III - Glossary
Logic
Sebastian Sunday Grève (Queen's College, University of Oxford, UK)
Picture
Stefan Brandt (University of Erlangen-Nürnberg, Gremany)
Grammar
Phil Hutchinson (Manchester Metropolitan University, UK) and Rupert Read (University of East Anglia, UK)
Use
Harvey Cormier (State University of New York at Stony Brook, USA)
Psychological Concepts
Yuval Lurie (Ben-Gurion University, Israel)
Ethics
Ben Ware (University of London and Kingston University, UK)
Art
David Macarthur (University of Sydney, Australia)
Index
