At least since Locke, philosophers and psychologists have usually held that concepts arise out of sensory perceptions, thoughts are built from concepts, and language enables speakers to convey their thoughts to hearers. Christopher Gauker holds that this tradition is mistaken about both concepts and language. The mind cannot abstract the building blocks of thoughts from perceptual representations. More generally, we have no account of the origin of concepts that grants them the requisite independence from language. Gauker's alternative is to show (...) that much of cognition consists in thinking by means of mental imagery, without the help of concepts, and that language is a tool by which interlocutors coordinate their actions in pursuit of shared goals. Imagistic cognition supports the acquisition and use of this tool, and when the use of this tool is internalized, it becomes the very medium of conceptual thought. (shrink)

Proceeding from Lessing’s distinction between poetry and visual art, Boris Groys argues that language is not external to, but resides behind, the image. The image constitutes the scene of a frustrated linguistic desire. Modern visual art sought to avoid the obscenity of staging this unfulfilled desire by conducting a systematic ascetic repression of the linguistic impulse. This negation of linguistic desire culminated in Judd’s ‘specific ob jects’. Y et the modern image, Groys emphasizes with reference to Greenberg and McLuhan, still (...) transmits a message, namely that of its medium bearer. Modern artists torture the image and put it into a state of emergency or exception in which it confesses its interior. In the image’s sub-medium space, in turn, resides language. Avantgarde artists and modern media theorists share the wish to achieve durability by becoming the media of the media. The border between the image and language, Groys closes, can neither be stabilized nor abolished. (shrink)

The paper develops a new holistic theory of the word by integrating semiotic, linguistic, and psychological perspectives and introduces the Cogitative-Sensory Word Model, the CogSens Model, that unites the human mind and body. Saussure’s two-sided sign is replaced by a Peirce-inspired three-sided conception in which the expression unit mediates two content units, namely, an idea content connected to the human mind and an image content linked to the human body. It is argued that it is the word that makes human (...) language a unique tool of communication. Moreover, it is demonstrated how words interact with grammar to create an utterance. Finally, it is suggested that speech perception, i.e., fission of idea and image content, is the mirror image of speech production, i.e., fusion of idea and image content. (shrink)

I discuss some reservations about the exegetical power of the claim that the Tractatus is “anti-metaphysical.” The “resolute” reading has the virtue of fidelity to important and neglected features of the work, both its anti-metaphysical moves and its account of the nature of the activity of philosophy and its status. However, its proponents underestimate the barriers to maintaining a consistent fidelity to these features of the text. The image of a ladder suggests a mere instrumental means to arrive at a (...) place that can itself be characterized independently of our means of arrival; where we arrive via the process of the TLP is the conclusion of an argument, and so cannot be characterized independently of the argument that got us there. In his commitments about the process of logical analysis “within language,” he strives as much as in his statements about the world to return us to our ordinary ways of talking and making sense of what we say to one another. Given the internal relationship Wittgenstein is at pains to emphasize between language, thought, and reality, he could hardly have philosophical commitments about one of these terms (have a residual metaphysics of language) and isolate this from how he thinks about the others. In a discussion of “Senator, you’re no Jack Kennedy” and “Chairman Mao is rare,” I argue that, pace Conant and Diamond’s claims to the contrary, logical categories are being invoked to explain why one cannot mean what one thinks one means in this phrase, and that Wittgenstein is both more anti-metaphysical in his treatment of these logical categories (in contrast with Frege) than the resolute readers consider him to be, and less successful in his treatment of how logical categories rule our judgments of sense and nonsense than they imply he is. Finally, I question the sharp boundary between logic and psychology and the “claustrophobic” feel that is created by a narrow construal of what one can make sense of in another’s words and person that underwrites their account of nonsense via a conflict between the meaning words can contain and our confused desires. Throughout, I discuss relevant passages of the Investigations that resolute readers treat as a re-expression of the themes of the Tractatus, to contrast the “anti-metaphysical” treatment these themes express in the Tractatus with the less dogmatic treatment they receive in the Investigations. (shrink)

The aim of this paper is to present the activities and research methodologies of CTL, a laboratory of the Scuola Normale Superiore of Pisa, founded and directed by Lina Bolzoni. CTL’s objective is to investigate the complex structure of relationships between the linguistic and the figurative code in literary tradition, paying particular attention to the XVth, XVIth and XVIIth centuries and using information technologies both as an auxiliary research tool and as a medium for scientific dissemination. Here I shall be (...) discussing the Centre’s digitalization projects, and in particular the project concerned with the Orlando Furioso and its remediation into images. This project, active since 2007, is, I believe, particularly representative of the progressive implementation within CTL of both traditional and computer-related methodologies in the planning of digital collections dedicated to words and images. (shrink)

When Gadamer speaks of the “unavoidability” or “uncircumventability” [Unhintergehbarkeit] of art,Cf. Hans-Georg Gadamer . there are at least two claims involved: he has in mind both the concrete autonomy of a given artwork—its independence from systems of signification and representation—as well as the crucial importance that art bears for any account of human understanding. Yet even if this central significance remains a distinct concern and peculiar inheritance of the continental philosophical tradition as such, it still remains unclear what it would (...) even mean for the question of art to be properly raised, let alone resolved. If anything, art’s significance currently lies in its continuing questionability.In Between Word and Image, Dennis Schmidt attunes the reader to this questionability and ends up bolstering the validity of Gadamer’s claims, broadly carrying the latter’s legacy forward in a number of ways: by extending the inquiry concerning the ontology of the artwork into .. (shrink)

Wittgenstein frequently uses the word 'aspect' (Aspekt) in his writings from 1947 to 1949. There he uses the word along with aspect-seeing and aspect-change, so that readers are misled into thinking his primary concern in using the word is something like Gestalt psychology or philosophy of psychology per se. However, Wittgenstein's late treatment of aspect is only a special case of a more general problem, namely phenomenology. In the middle-period writings, the word 'aspect' refers to a phenomenological object. Basically, Wittgenstein's (...) aspect means the way an object appears to us. For him, an 'aspect' is a phenomenological object. (shrink)

Many philosophers think that there could be a creature that looks, talks, and acts just like a human being but that has no inner awareness, no feelings, no qualia. These philosophers call such a hypothetical being a ‘zombie’, and they use the possibility of zombies to defend central claims in the philosophy of mind. In this essay, I use Wittgensteinian ideas to argue, against such philosophers, that the notion of a zombie is incoherent. I argue first that the possibility of (...) zombies would entail a radical form of skepticism about other minds. I then use that result to argue that philosophers who believe zombies are possible cannot account for the meaningfulness of terms like ‘pain’, ‘qualia’, and ‘phenomenal consciousness’. Since philosophers who think zombies are possible require such terms to define their position, I conclude that such philosophers employ words to which they have given no meaning. I close the essay by reflecting on the nature of these arguments and by drawing some Wittgensteinian lessons about the character of our mental concepts. (shrink)

One method for investigating the neurobiology of consciousness is to experimentally manipulate consciousness as a variable and then visualize the resultant functional brain changes with advanced imaging techniques. To begin investigation into this area, healthy volunteers underwent positron emission tomography scanning while listening to randomized word lists in both conscious and unconscious conditions. Following anaesthesia, subjects had no explicit memories. Nonetheless, subjects demonstrated implicit memory on a forced-choice test . These subsequent memory scores were correlated with regional brain metabolism measured (...) during encoding. Conscious recall and unconscious recognition memory demonstrated considerable anatomic overlap in correlating significantly with relative glucose metabolism in auditory verbal memory areas. However, only conscious recall correlated with mediodorsal thalamic nucleus activity; unconscious recognition memory did not. These findings suggest that conscious versus unconscious memory distinctions may depend on the presence or absence of correlated thalamic activity, and directly implicate the thalamus in the neurobiology of consciousness. (shrink)

Many philosophers think that there could be a creature that looks, talks, and acts just like a human being but that has no inner awareness, no feelings, no qualia. These philosophers call such a hypothetical being a ‘zombie’, and they use the possibility of zombies to defend central claims in the philosophy of mind. In this essay, I use Wittgensteinian ideas to argue, against such philosophers, that the notion of a zombie is incoherent. I argue first that the possibility of (...) zombies would entail a radical form of skepticism about other minds. I then use that result to argue that philosophers who believe zombies are possible cannot account for the meaningfulness of terms like ‘pain’, ‘qualia’, and ‘phenomenal consciousness’. Since philosophers who think zombies are possible require such terms to define their position, I conclude that such philosophers employ words to which they have given no meaning. I close the essay by reflecting on the nature of these arguments and by drawing some Wittgensteinian lessons about the character of our mental concepts. (shrink)

In this paper we present the results of two experiments. The first is on the categorization of texture words in the English language. The goal was to determine whether there is a common basis for subjects' groupings of words related to visual texture, and if so, to identify the underlying dimensions used to categorize those words.Eleven major clusters were identified through hierarchical cluster analysis, ranging from “random” to “repetitive”. These clusters remained intact in a multidimensional scaling solution. (...) The stress for a three‐dimensional solution obtained through multidimensional scaling was 0.18, meaning that 82% of the variance in the data is explained through the use of three dimensions. It appears that the major dimensions of texture descriptors are repetitive versus nonrepetitive; linearly oriented versus circularly oriented; and simple versus complex.In the second experiment we measured the strength of association between texture words and texture images. The goal was to determine whether there is any systematic correspondence between the domains of texture words and texture images. Pearson's coefficient of contingency, a measure of the strength of association, was found to be 0.63 for words corresponding to given images and 0.56 for images corresponding to given words. Thus the texture categories in the verbal space and those in the visual space are strongly tied.In sum, our two experiments show (a) that despite the tremendous variety in the words we have to describe textures, there is an underlying structure to the lexical space which can be derived from the experimental data; and (b) that the association between a category of words and a category of images was strongest when both categories represent the same underlying property. This suggests that subjects' organizations of texture terms are systematically tied to their organization of texture images. (shrink)

"The purpose of this book is to examine and explicate a definition given in Philosophical Investigations. The definition of the meaning of a word is that "the meaning of a word is its use in the language." Hallet understands this as a definition in the strict sense of the word. In Chapter I, the author look to the Tractatus for its treatment of the picture theory of meaning and the Bedeutung/Sinn distinction. The conclusion which he pulls from the early work (...) is that, for Wittgenstein, meaning was already in a proposition by way of the meaning of names. Yet, only in the use or application, i.e. in a proposition with sense is meaning revealed. Although the Tractatus is far from saying that meaning is use, certain guiding themes are elaborated and carried into later works; namely, the search for meaning, the impossibility of meaning outside use, and meaning as revealed by use. Chapter II, III, and especially IV bear the brunt of establishing Hallet's thesis that Wittgenstein presented a significant and sound definition. He begins by showing what Wittgenstein proved meaning not to be: meaning is not images, objects, mental referents, nor feelings. All of these theories have convincing confirmation in certain respects, yet analysis, i.e. observation of the actual working of language, shows each to be too narrow. In making his transition to the true definition, the author shows Wittgenstein elaborating theses that meaning is to be found in the system or context of language. These are elaborated only to be cast aside as were the previous suggestions. The pattern elicited from these examinations is that meaning is use and, hence, defined as such. To explicate the definition, Hallett presents and examines seven characteristics of use: complexity, regularity and utility, abstraction, openness, vagueness, variety, and family resemblances. The book concludes with a consideration of the major objections to Wittgenstein's definition."-The Review of Metaphysics. (shrink)

SummaryWittgenstein's uses of “language‐game” oscillate between references to simplified and imaginary models of rule‐governed observable interaction, and reference to ways in which words are actually used.Reasons are offered for rejecting Wittgenstein's claim for the autonomy of language‐games: use of “mini‐languages “presupposes use of a full language; and mastery of conceptually related language‐games.“Language‐games” are not games. They might be treated as “images” in the literary critic's sense of “pictures made out of words”.

The Enchantment of Words is a study of Wittgenstein's early masterpiece, the Tractatus Logico-Philosophicus. Recent years have seen a great revival of interest in the Tractatus. McManus's study of the work offers novel readings of all its major themes and sheds light on issues in metaphysics, ethics and the philosophies of mind, language, and logic.

Wittgenstein demystified the notion of 'observational self-knowledge'. He dislodged the long-standing conception that we have privileged access to our impressions, sensations and feelings through introspection, and more precisely eliminated knowing as the kind of awareness that normally characterizes our first-person present-tense psychological statements. He was not thereby questioning our awareness of our emotions or sensations, but debunking the notion that we come to that awareness via any epistemic route. This makes the spontaneous linguistic articulation of our sensations and impressions nondescriptive. (...) Not descriptions, but expressions that seem more akin to behaviour than to language. I suggest that Wittgenstein uncovered a new species of speech acts. Far from the prearranged consecration of words into performatives, utterances are deeds through their very spontaneity. This gives language a new aura: the aura of the reflex action. I argue, against Peter Hacker, that spontaneous utterances have the categorial status of deeds. This has no reductive consequences in that I do not suggest that one category is reduced to another, but that the boundary between them is porous. This explodes the myth of an explanatory gap between the traditionally distinct categories of saying (or thinking) and doing, or of mind and body. (shrink)

Philosopher Ludwig Wittgenstein had an enormous influence on twentieth-century philosophy even though only one of his works, the famous Tractatus Logico-Philosophicus, was published in his lifetime. Beyond this publication the impact of his thought was mainly conveyed to a small circle of students through his lectures at Cambridge University. Fortunately, many of his ideas have survived in both the dictations that were subsequently published, and the notes taken by his students, among them Alice Ambrose and the late Margaret Macdonald, from (...) 1932 to 1935. These notes, now edited by Professor Ambrose, are here published, and they shed much light on Wittgenstein's philosophical development. Among the topics considered are the meaning of a word and its relation to common usage, rules of grammar and their relation to fact, the grammar of first person statements, language games, and the nature of philosophy. This volume is indispensable to any serious discussion of Wittgenstein's work. (shrink)

From his return to Cambridge in 1929 to his death in 1951, Ludwig Wittgenstein, who published only one work in his lifetime, influenced philosophy almost exclusively through teaching and discussion. These lecture notes, therefore, are an important record of the development of Wittgenstein's thought; they indicate the interests he maintained in his later years and signal what he considered the salient features of his thinking. Further, the notes from an enlightening addition to his posthumously published writings. P. T. Geach, A. (...) C. Jackson, and K. J. Shah kept meticulous notes from the last formal course that Wittgenstein taught at Cambridge. In order to reconstruct as accurately as possible the words of Wittgenstein, this volume compiles all three sets of notes with no attempt to conflate or edit them beyond rendering them into lucid English. Topics covered by the notes in this volume include the private language argument, the grammar of sensation statements, certainty and experimentation in psychology, and, in general, the same set of concerns as are to be found in his Last Writings and Remarks on the Philosophy of Psychology . The source material provided in these lecture notes is vital to Wittgenstein scholarship. (shrink)

This paper focuses on the relation between icon and depiction and their equally central role both in verbal and in nonverbal artistic texts. For this purpose, I will examine the contact points between Jakobson and Bakhtin’s theory of text. In particular, I will dwell on Jakobson’s “Quest for the essence of language” and on Bakhtin’s “The Problem of the Text in Linguistics, Philology, and the Human Sciences.” Both Jakobson and Bakhtin build their idea of text on this dialogue between different (...) dimensions. According to Bakhtin dialogical logic is the specific logic of the text. Though indispensable in the initial phase of understanding, the first is reductive if it claims to exhaust the semantic import of the text. Both in Bakhtin and in Jakobson, this idea of text based upon a dialogue between different dimensions implies that sign expression cannot be exhausted in representation because there is something which exceeds representation. I will call this excedent element “depiction.” Depiction is what is at stake in the artistic text, what exceeds the symbolic level of representation. “Depiction” can be configured, both in verbal and non-verbal text, as an idea of iconicity which exceeds resemblance and immediate visibility. (shrink)

Looking at Dickinson and Hölderlin, this essay begins by exploring the idea of the poetic dimension of existence and its relation to the image, or more precisely, to the capability to disclose into images. For Dickinson the relentless “poverty” of a non-poetic existence indicates that what is missing from such existence are not just images but the capacity for their “disclosing” - the poetic gift or aptitude. With the help of Heidegger’s essays on poetry and poverty, I invert (...) this relation between image and poverty to show that, even though the inceptive character of the poetic word and the element of poetic dwelling it allows to emerge appear poor in comparison to images or concepts, it is the poetic word that for the very first time lets humans dwell. Although it can neither boast the richness of “pictures” nor the strength and precision of conceptual comprehension, the poetic is what opens up the world for humans and simultaneously opens their being to its characteristic manner of inhabiting this world. (shrink)

In what is now called Philosophy of Psychology—A Fragment (formerly Part II of the Philosophical Investigations), Wittgenstein writes that the importance of the concept of aspect‐seeing “lies in the connection between the concepts of seeing an aspect and of experiencing the meaning of a word.” Wittgenstein claims that just as we can imagine someone who does not experience shifts between two aspects in the same image—for example, the duck–rabbit—we can imagine people who use language but do not experience the meaning (...) of a word. In this paper, I explicate the importance of this “meaning‐blindness” and its relation to aspect‐seeing. I then argue—drawing on a similar thought experiment in Walter Benjamin's early philosophy of language—that meaning‐blindness is actually a fatal impediment for language use. The upshot of my analysis is that the aesthetic experience of meaning, regularly marginalized in the philosophy of language, must be understood as fundamental to language and language use. (shrink)

As one tries to grasp love and its images within José Leonilson's production, a multiplicity of aspects and meanings are seen that also relate to Louise Bourgeois's oeuvre in regard to the interest in human relations. Through a comparative approach to both artists' poetics, an understanding is created that love is not a simplistic action and all the words read in or applied to their visual discourse must be considered within a wide range of love in visual and (...) literary images. Keywords: literature and visual arts / love / creativity / Bourgeois, Louise / Leonilson, José / word and image. (shrink)

The purpose of this book is to examine and explicate a definition given in Philosophical Investigations. The definition of the meaning of a word is that "the meaning of a word is its use in the language." Hallett understands this as a definition in the strict sense of the word. In Chapter I, the author looks to the Tractatus for its treatment of the picture theory of meaning and the Bedeutung/sinn distinction. The conclusion which he pulls from the early work (...) is that, for Wittgenstein, meaning was already in a proposition by way of the meaning of names. Yet, only in the use or application, i.e., in a proposition with sense is meaning revealed. Although the Tractatus is far from saying that meaning is use, certain guiding themes are elaborated and carried into later works; namely, the search for meaning, the impossibility of meaning outside use, and meaning as revealed by use. Chapter II, III, and especially IV bear the brunt of establishing Hallett’s thesis that Wittgenstein presented a significant and sound definition. He begins by showing what Wittgenstein proved meaning not to be: meaning is not images, objects, mental referents, nor feelings. All of these theories have convincing confirmation in certain respects, yet analysis, i.e., observation of the actual working of language, shows each to be too narrow. In making his transition to the true definition, the author shows Wittgenstein elaborating the theses that meaning is to be found in the system or context of language. These are elaborated only to be cast aside as were the previous suggestions. The pattern elicited from these examinations is that meaning is use and, hence, defined as such. To explicate the definition, Hallett presents and examines seven characteristics of use: complexity, regularity and utility, abstraction, openness, vagueness, variety, and family resemblances. The book concludes with a consideration of the major objections to Wittgenstein’s definition. There are too many objections presented to be handled justly. For the most part, the argument is superficial, usually presuming a familiarity with the issue, and with but an indication of how the objection could be handled. The strength of the book is that it gives an organization to Wittgenstein’s later thinking, especially by way of the above-mentioned seven characteristics. In identifying and elucidating them, Hallett does Wittgenstein students a great service. Its chief weakness, although pale in regard to the overall worth, is that the main thesis is not firmly established. To say that a precise and complete definition is given is contrary to what is maintained throughout the Investigations, and perhaps a serious misreading of the German word, erklaren, as the precise English phrase, "to define." There are extensive notes and an adequate index.—W. A. F. (shrink)

The Symposium is one of Plato’s most literary and poetic dialogues. How might one reconcile this evidence of Plato’s predilection for poetry in light of his severe critique of poetry in the Republic? Though his critique is modified and refined in other dialogues, the power of his critique is nowhere significantly undermined. I argue in this paper that Plato’s poetic writing is not inconsistent with his critique, and that in fact there is an affinity between his practice of poetry and (...) his critique. Plato’s critique of poetry is not aimed against poetry itself, but just against its problematic claims and false promises. In turn, Plato’s use of the poetic image, especially in relationship to eros, delimits philosophy, and places it in relation to that which is not attainable for it. The battle between poetry and philosophy is seen to involve a reciprocal benefit for both, and a hidden affinity. In this sense, the poetic image has its philosophical sense precisely because it falls outside of the philosophical perspective. (shrink)

In April 1939, G. E. Moore read a paper to the Cambridge University Moral Science Club entitled ‘Certainty’. In it, amongst other things, Moore made the claims that: the phrase ‘it is certain’ could be used with sense-experience-statements, such as ‘I have a pain’, to make statements such as ‘It is certain that I have a pain’; and that sense-experience-statements can be said to be certain in the same sense as some material-thing-statements can be — namely in the sense that (...) they can be safely counted on. When Moore later read his paper to Wittgenstein, Wittgenstein took violent exception to it, and the two entered into a heated exchange. The only known notes of this exchange are a previously unpublished verbatim record of part of it, taken by Norman Malcolm. This paper is an edition of Malcolm’s notes. These notes are valuable for both philosophical and scholarly reasons. They give us a glimpse of a sustained exchange between Wittgenstein and a real-life interlocutor; they contain a defence by Wittgenstein of the idea that a word’s use can illuminate its meaning; and they provide evidence of Wittgenstein’s philosophical engagement with the topic of certainty, and with Moore’s thought on it, long before he began to write the notes which make up On Certainty, in 1949. (shrink)

The distinction between abstract (rule-based) and contextual (intuitive) thinking is illustrated by studies of numeric versus linguistic expressions of probability. Verbal probabilities are believed to reflect intuitions that can be adaptive and occasionally normative (e.g., counteracting conjunction errors). Stanovich & West's interpretation of analytic thinking in terms of ability suggests a complementary ability perspective on intuitive thinking.

“Wittgenstein’s Ghosts. Between Deleuze and Derrida”. Both Derrida and Deleuze agree that with the advent of the moving image and the art of film, we need to articulate a new ontology or –in Wittgenstein’s terms–, a new grammar. Derrida suggests this much when he reflects on what he calls the return of ghosts, which he attributes to the advent of film and the communications media; Deleuze does the same in his studies of film, and in particular in what he calls (...) the time-image. They both carve a grammatical space where room is opened for us to talk about an experience that fuses, paradoxically, problematically, the real and the virtual. Wittgenstein is tracing this grammar in his discussions on inner experience and in his observations about the phenomenon of aspect-seeing. Articulating a new grammar requires also a new way of seeing and this new seeing is the purpose of his methods; “clairvoyant” methods we can call them, following Deleuze’s term for what the time image propitiates in the viewer, in that they allow us to see beyond things to their aspects, beyond substances to processes; in other words, they train us to think in moving time. Philosophy is thus always a work of mourning and a commerce with ghosts. What this means is that Wittgenstein is –as Derrida and Deleuze are too–, what we might call a philosopher of becoming. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 188-195 [Access article in PDF] Wittgenstein and Poetic Language B. R. Tilghman ACCORDING TO RICHARD KUHNS there are certain important parallels between symbolist poetic theory, especially that of Paul Valéry, and Wittgenstein's picture of language developed in the Tractatus Logico-Philosophicus. 1 It strikes me that these parallels are strained and certainly unhelpful in illuminating either what Valéry says about poetry or his poetic practice. (...) In fact, I find certain things in Valéry that are closer in spirit to Wittgenstein's view of language in the Philosophical Investigations. 2 My concern here is not to criticize Kuhns's thesis nor to provide a systematic exposition of Valéry's thoughts about poetry so much as it is to use some of what they say as stepping stones to show the relevance of Wittgenstein's work for understanding at least some of what goes on in poetry.Kuhn says that "Linguistic forms fascinated both Valéry and Wittgenstein, and the possibility that language might achieve necessity in that it produced sentences held together by bonds of absolute security and irrevocability operates in the logical forms of the Tractatus as it does in Valéry's art. A poem, Valéry believed, must be wrought with such necessity of part to part, such fastness of interior design, that the reader be compelled by his reading to recognize all the implications of the sentences." 3 I set aside trying to make sense of the idea of language achieving necessity and assume that the analogue of the "bonds of absolute security and irrevocability" in the Tractatus is that a perspicuous [End Page 188] symbolism should immediately make clear all the logical implications of any proposition. The analogy between whatever it is that counts as poetic implications and logical implication, however, seems impossibly lame. The word "implication" applied to the sentences of poetry is not a technical term as is the word when used in logic and its meaning may not be altogether clear. Nevertheless, some of what it may mean can be brought out, I believe, in terms of examples. Consider T. S. Eliot's line that "April is the cruelest month, breeding lilacs out of the dead land...," the full sense—implications—of the words are not realized until they are seen in the context of the rest of the poem where we can understand them as making a point about the constrained and empty lives of the dwellers in the waste land. The description of the spring as cruel will help to serve as the poem develops to reveal to us the resistance of people to open themselves to human emotion and reaction. There are too many differences between this kind of thing and logical implication to make the analogy helpful.At one point Valéry says that "A poem is really a kind of machine for producing the poetic state of mind by means of words." 4 To that statement Kuhns comments that "Valéry's idea that a poem is a machine for producing poetic states is analogous to Wittgenstein's idea that logic is a machine for making sense, that there exists a structure which is the structure of possible meanings." 5 Valéry apparently wanted a poetry in which there is something akin to a necessary connection between the images and tropes within a poem so that there is only one way to read it. Although it is by no means clear what success in such an enterprise would be, some sense can be made of the idea of a poem as a structure of meanings held together by a kind of necessity. I shall try to make this clear. A poem invites us to move in various directions as the force of some figure of speech comes home to us or various associations dawn on us. In music a certain chord progression seems to demand a resolution into the tonic as its completion. This could be described as a kind of necessity, but, of course, not a logical one. Given our... (shrink)

Until the beginning of the twentieth century Christianity, in order to proclaim its message, was based above all upon the word, the substance of prayer and preaching; certainly manuscripts, with the Scriptures and other fundamental texts, long secured the foundations of the faith, but before the advent of printing their diffusion and reception remained the prerogative of lettered elites, most often clerics such as the Benedictines (remember Umberto Eco's famous novel published in 1980, The Name of the Rose). Moreover, the (...) Catholic Church made extensive use of the image in the Middle Ages, above all in the gothic period, and created remarkable visual splendour in its holy places. Stained glass windows and paintings and sculptures with subjects from the Old and New Testaments reinforced the devotion and faith of the illiterate. It was only after 1450, with Gutenberg's invention of printing - which, moreover, immediately disseminated bibles, missals and prayer-books - that the text became a major means of transmitting the Christian message. From the sixteenth century onwards Protestant Calvinists (but not Lutherans or Anglicans) rejected religious imagery - even the crucifix - as a means of devotion, for they were considered idolatrous; on the other hand, the reformers, more than the Catholic Church, laid stress on the reading of biblical texts by the faithful, especially the Old Testament, henceforth much more widely distributed, thanks expressly to printing. Admittedly the word did not lose its rights; like Catholicism in its churches and cathedrals, the Reformation preached the Good Word in its temples. Yet paradoxically, the present return of the religious image - this time televisual - was to be first of all a Protestant occurrence, principally in the United States. (shrink)

Some scholars suggest a puzzle presents itself in Ludwig Wittgenstein's final words in the mismatch between what Norman Malcolm describes as a ‘fiercely unhappy’ life and Wittgenstein's expression of that life as ‘wonderful’. Ronald L. Hall attempts to overcome the apparent puzzle by retranslating Wittgenstein's final words into an expression of an awakening to the wonder inherent in reality. Beth Savickey argues that Hall's approach is a philosophical abstraction that diminishes the significance of friendship in Wittgenstein's life and (...) that these friendships are what made Wittgenstein's life ‘wonderful’. I argue that Hall's and Savickey's accounts of wonder and friendship go wrong as attempts to explain away the apparent puzzle of Wittgenstein's final words. Drawing on remarks from Raimond Gaita, I argue that both aspects can be incorporated into a dissolution of the apparent puzzle if Wittgenstein's final words are heard in the register of an expression of gratitude from a perspective of his life as a whole sub specie aeterni. (shrink)

On his deathbed, Wittgenstein is reported to have said, upon hearing that his friends were coming for a visit, “Tell them I've had a wonderful life.” Malcolm found this puzzling, given that Wittgenstein seemed to be fiercely unhappy. I find my way into these words against the backdrop of the Hollywood film It's a Wonderful Life and Wittgenstein's famous remark, to wit, “Man has to awaken to wonder . . . Science is a way of sending him to sleep (...) again.” Along the way I discuss Plato's praise of wonder, Nietzsche's attack on science, and Kierkegaard's remark about finding the sublime in the pedestrian. I conclude that Wittgenstein did have a wonderful life insofar as he was fully awake to wonder, what I call the wonder of our words. (shrink)

We can say that Picasso’s images speak to us, and, as writing, speak to us from that space in which any text – far from being reduced to a single sense – “disseminates” its “truths”. Using the figure and the story of the Minotaur, Picasso devoted himself to one of the great themes of his pictorial work. The word “labyrinth” connotes, to the European mind, Greece, Knossos, Dedalus, Ariadne and the Minotaur. However, the Greek formula already represents a mythic (...) and poetic outcome thoroughly developed from an imagery forged in the remotest eras of our evolution. The relationship between the image, the spiral, and the word, labyrinth is also linked to the perception of a drilled earth, excavated, with numberless tortuous tunnels which, in our imagination, provoke concern because they lead to the world of the inferi, the unknown depths of the realms of the dead. Juan Larrea, a little-known essayist in the sphere of philosophical studies, although, from the outset of international renown for Picasso’s work, he gives what is perhaps the best interpretation of Guernica and consequently also sheds much light on the engravings immediately preceding the execution of this painting, the Minotauromachy among them. The artist is not a prophet. He is not foreseeing what the future holds for humanity, but he does possess a heightened sensitivity that drives him to minutely scrutinise the conditions of the time that he has had to live, and he has a transforming eye for the symbols that constitute the deepest threads in the fabric of his culture. (shrink)

The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear (...) on the question of whether there are such things as “purely visual” arguments. I shall draw on Wittgenstein’s remarks in the Blue and Brown Books and in Philosophical Investigations in order to argue that al- though visual images may occur as elements of argumentation, broadly conceived, it is a mistake to think that there are purely visual arguments, in the sense of illative moves from premises to conclusions that are conveyed by images alone, without the support or framing of words. (shrink)

Taking Wittgenstein at His Word is an experiment in reading organized around a central question: What kind of interpretation of Wittgenstein's later philosophy emerges if we adhere strictly to his claims that he is not in the business of presenting and defending philosophical theses and that his only aim is to expose persistent conceptual misunderstandings that lead to deep philosophical perplexities? Robert Fogelin draws out the therapeutic aspects of Wittgenstein's later work by closely examining his account of rule-following and how (...) he applies the idea in the philosophy of mathematics.The first of the book's two parts focuses on rule-following, Wittgenstein's "paradox of interpretation," and his naturalistic response to this paradox, all of which are persistent and crucial features of his later philosophy. Fogelin offers a corrective to the frequent misunderstanding that the paradox of interpretation is a paradox about meaning, and he emphasizes the importance of Wittgenstein's often undervalued appeals to natural responses. The second half of the book examines how Wittgenstein applies his reflections on rule-following to the status of mathematical propositions, proofs, and objects, leading to remarkable, demystifying results.Taking Wittgenstein at His Word shows that what Wittgenstein claims to be doing and what he actually does are much closer than is often recognized. In doing so, the book underscores fundamental--but frequently underappreciated--insights about Wittgenstein's later philosophy. (shrink)

This chapter presents a facsimile of manuscript (MS) 139a pages 15 and 16 of Ludwig Wittgenstein's Lecture on Ethics, one of the two surviving manuscripts of the so‐called Lecture on Ethics delivered to The Heretics, a Cambridge student society. The text is in English in pencil on loose sheets of 204x330 mm. The text in the facsimile images is presented in normal text below each image to provide the reader a better understanding of the content in the images.

Long awaited by the scholarly community, Wittgenstein's so-called Big Typescript is presented here in an en face English-German scholar's edition. Presents scholar's edition of important material from 1933, Wittgenstein's first efforts to set out his new thoughts after the publication of the Tractatus Logico Philosophicus Includes indications to help the reader identify Wittgenstein's numerous corrections, additions, deletions, alternative words and phrasings, suggestions for moves within the text, and marginal comments.

Thirty Israeli disabled people were asked to describe their most memorable interactions with mass mediated images of disability as part of a tentative endeavor to delve into their reception patterns. Two stereotypes are discussed in this paper, namely the supercrip and the pitiful disabled. The interviewees seek examples to corroborate their belief that physical, social, and cultural obstacles can be overcome. Highly regarded supercrips embody one example as ‘regular’ people are especially coveted. Well-known, successful disabled people are put on (...) a pedestal for their demonstrated ability to triumph. This triumph is used to validate the disabled individual and to alter societal perceptions. Consequently, the wish to see disabled who ‘have done it’ is particularly intense while the pitiful disabled trigger antipathy because they reproduce and reinforce disabled people's inferior positionality and exclusion. (shrink)

A number of recent models of semantics combine linguistic information, derived from text corpora, and visual information, derived from image collections, demonstrating that the resulting multimodal models are better than either of their unimodal counterparts, in accounting for behavioral data. Empirical work on semantic processing has shown that emotion also plays an important role especially in abstract concepts; however, models integrating emotion along with linguistic and visual information are lacking. Here, we first improve on visual and affective representations, derived from (...) state‐of‐the‐art existing models, by choosing models that best fit available human semantic data and extending the number of concepts they cover. Crucially then, we assess whether adding affective representations (obtained from a neural network model designed to predict emojis from co‐occurring text) improves the model's ability to fit semantic similarity/relatedness judgments from a purely linguistic and linguistic–visual model. We find that, given specific weights assigned to the models, adding both visual and affective representations improves performance, with visual representations providing an improvement especially for more concrete words, and affective representations improving especially the fit for more abstract words. (shrink)

This text focuses from a philological perspective on media theories and their impact on traditional text-based disciplines. Therefore it looks at the problems that have emerged for Media Studies as well as for traditional studies in philology when reflecting on the concept of self-reference, since their subjects can seemingly no longer rely on the purity of the written word. If research work in the field of humanities is still mainly documented by texts, how does the advance of images as (...) a challenging research subject affect the text that is referring to that subject? Speaking in media terms: how is the medium `text', which still remains text when it is concerned with the medium `image', affected by the `other' medium? This question deals with the problem of self-reference, hence the construction of disciplinary limitations in various academic fields. Beginning with this question, I try to find out how the difference between self-reference and reference has been and still is being organized in texts. How can we compare different types of theorizing images in texts? These abstract problems will be exemplified by situating the word—image bias in a wider historical context. The text concludes by developing some possibilities for future research within this area of visual culture and academic writing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within Marxism (...) are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

This dissertation is structured as a debate between Wittgenstein and Habermas concerning the rational implications of linguistic practices. The topic of the debate is set by Habermas's claim that the pragmatic presuppositions of everyday speech acts commit speakers to resolve differences, including differences in their linguistic and reasoning practices, through a process of rational argumentation called discourse. By contrast, Wittgenstein sees linguistic and reasoning practices as the given parameters of all argumentation, such that they themselves are not open to rational (...) criticism. ;The approach taken is to reconstruct and evaluate each of these positions in detail. After an introduction to Wittgenstein's language-game model of linguistic practices, his remarks concerning rule-following are subjected to a careful analysis. Using Kripke's interpretation as a foil, the argument is made that Wittgenstein does not seek a standard for the correct application of a rule distinct from how one actually applies it, but instead shows that such standards can ultimately be no part of the practice of following a rule. Specifically, intersubjective agreement is not needed as a standard; contrary to what is usually thought, Wittgenstein shows that monological rule-following is possible. This finding is then applied to reasoning practices, with the provisional conclusion that a practice of reasoning as a whole is also not open to rational criticism, but is instead marked by acritical certainty. ;Next Habermas's model of communicative action is reconstructed to show how it implies that given linguistic and reasoning practices must be open to rational criticism. Two arguments supporting this model are then distinguished and examined: one based on the distinction between illocution and perlocution, the other based on a pragmatic theory of meaning. Both are found insufficient to substantiate Habermas's claims against Wittgenstein. The conclusion is therefore drawn that everyday linguistic practices do not commit speakers to critical discourses. ;Against both thinkers, however, I argue that linguistic practices themselves need not license their own critical evaluation for it to be rational. Hence, rational criticism of these practices may still be possible, even where it is not required. (shrink)

Within the article the attempt is made to study the perception of the XVIII century philosopher Hryhorii Skovoroda’s image and its philosophy through the prism of the later national identities. The fact is stressed that the statement of the issue concerning the Hryhorii Skovoroda’s image Ukrainization and the history of its solution turns out to be the consequence of the process of establishing the Ukrainian modern self-identity which started in the ХІХ century. The situation is emphasized that within “all-Russian” identity (...) one can come across its three variations: Skovoroda is a “Russian” (meaning “all-Russian”); Skovoroda is a “Malorussian” (meaning a representative of a regional variant of a “Russian” identity) and Skovoroda is a “Ukrainian” (meaning a native from the land that is called Ukraine). At the end of the ХІХ century Skovoroda’s image was interpreted within Ukrainian personal identity. The conclusion is made that during ХІХ—ХХ centuries and even nowadays two national identities for Skovoroda’s personality remain relevant: Ukrainian and Russian. The Russian one is a result of the XVIII—XIX centuries “all-Russian” syncretism state being transferred into the modern particular Russian national self-identity. The process of Hryhorii Skovoroda’s image Ukrainization (in other words its extraction from the “all-Russian” context) developed through several stages. At the beginning of the ХІХ century he was “Ukrainian” because he had a Ukrainian territorial identity and was related to Slobidska-Ukrainian province. Later he became “Ukrainian” because he represented “simple” Ukrainian people. Finally he is “Ukrainian” because he belongs to the Ukrainian ethnic nation and therefore his philosophy belongs to Ukrainian philosophical culture. (shrink)

Søren Kierkegaard was an almost unbelievably prolific writer. At his death he left not only a massive body of published work, but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his death. It is the story of packets and sacks of paper covered (...) with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care.Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen.By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.2 (2002) 345-363 [Access article in PDF] Tractatus Logico-Philosophicus: A "Poem" by Ludwig Wittgenstein David Rozema In the Fall term of 1911 the 22-year-old Ludwig Wittgenstein presented himself to the Cambridge philosopher of mathematics, Bertrand Russell, as a prospective student of philosophy. Wittgenstein had left off his studies as a promising young aeronautical engineer because, in the course of his engineering studies, he (...) had become obsessed with problems in the foundations of mathematics, the very problems Russell himself had tried to solve in his Principia Mathematica, a work he had completed just the year before. Wittgenstein, it seems, did not consider Russell's work to be the end of the matter, and so he had planned a book of his own on the subject. Although this work never materialized, Wittgenstein's interest in philosophy grew under his studies with Russell. And although Wittgenstein's early work in the philosophy of mathematics and logic were the initial impetus for his interest in philosophy, the events of his life soon led him back to the concerns which have always been central to the spirit of philosophy: How ought a man to live? What constitutes the good for man? What sort of life is a worthy or a beautiful one?It is likely that Wittgenstein's concern with these questions was heightened by what he saw in Russell, who followed a notoriously loose way of life outside of his academic studies. 1 If Wittgenstein ever wondered whether or not there was any connection between Russell's philosophical commitments and Russell's way of life, he never directly confronted Russell with the question. Russell was, after all, his benefactor, his mentor, and the source for his initial interest in philosophical problems. 2 Nevertheless, I maintain, Wittgenstein did confront Russell indirectly: he confronted the part of himself that was like Russell and, by attempting [End Page 345] to describe it in writing—the Tractatus Logico-Philosophicus—he discovered its barrenness. Insofar as such an act of writing is elucidatory of a person's soul in what and in how it pictures, it can legitimately be called a kind of poetry, for it bears the essential feature of all poetics: it serves to shape, through catharsis, the passions.Thus, though Wittgenstein neither considered the Tractatus to be a poem nor intentionally wrote it as a poem, it turned out to be a kind of poem in the sense that its form fits its content, both of which, in turn, accurately picture a specific form of life, and the passional result of this poetic construction is (and was, for Wittgenstein) a certain appropriate disdain for the form of life it pictures. This is what I suggest with regard to the Tractatus: it is most helpful and is best read as a poem. I will also try to show that this is how Wittgenstein himself came to think it should be read, which in turn helps to explain why he initially allowed and later continued to allow its publication.What does it mean to read the Tractatus as a poem picturing the form of life implicated by a philosophy like that of Russell's? In this poem Wittgenstein takes the fundamental principles of Russell's philosophy—that all words are signs that stand for objects or kinds of objects and that all meaningful propositions represent a possible arrangement of these objects—and draws out the full-blown implications of these principles. In the last section of the poem Wittgenstein shows the practical consequences of a life lived on these principles, concluding: "Whereof one cannot speak, thereof one must be silent." 3 The two-edged nature of this remark carries the force appropriate to the last line of a poem, for it is both descriptive and imagistic. It describes Wittgenstein's own thought when he realizes that, because of his Russellian philosophical commitments, he has nothing to say with regard to the good, the truth, and the beauty of life; and it is an image of the necessity that a... (shrink)

Edmund Husserl has famously declared that “Without an image, there is no fine art.” The aim of the article is to find out whether conceptual art can be experienced as image as well. It will be shown that Joseph Kosuth’s conceptual artwork One and Three Chairs (1965) perfectly illustrates Husserl’s theory of image consciousness and the concept of “image.” Thus, Husserl’s theory makes a valuable contribution in understanding conceptual (and contemporary) art.