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.

This anthology is the first devoted exclusively to On Certainty. The essays are grouped under four headings: the Framework, Transcendental, Epistemic and Therapeutic readings, and an introduction helps explain why these readings need not be seen as antagonistic. Contributions from W.H. Brenner, Alice Crary, Michael Kober, Edward Minar, Howard Mounce, Daniele Moyal-Sharrock, Thomas Morawetz, D.Z. Phillips, Duncan Pritchard, Rupert Read, Anthony Rudd, Joachim Schulte, Avrum Stroll, Michael Williams.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Nad barjem je veter in moker je zrak, uši imam v tuniki, v nosu prehlad. Z neba štropotajo nalivi dežja, vojak sem na zidu, ne vem sploh, zakaj. Po sivem kaménju se plazi megla, dekle imam v Tungriji, jaz pa spim sam.

Aesthetics, hermeneutics, criticism -- Social Werktreue and the subjectivization of aesthetics -- From musike to metaphysics -- Formalist aesthetics and musical hermeneutics -- Deconstructing the disciplinary divide -- The question of metaphor -- Mimesis and the hermeneutics of music -- Political critique and the politics of music criticism -- Toward a hermeneutics of music criticism.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Some years ago, in the course of a general critique of what has sometimes been referred to as the covering law theory of explanation, I made the claim that perfectly satisfactory explanations can often be provided by indicating only one or a few necessary conditions, where we remain ignorant of the sufficient conditions, of what we nevertheless claim to understand. What seemed to me one identifiable type of such explanations I called “explaining how-possibly,” because it was a type more naturally (...) given in response to the question how it could be that a certain thing happened than to the more familiar question why it did so. In the present paper I propose to review certain objections to this thesis which have come to my attention in the interval, and to make such concessions as these seem to require. In fact, the concessions will be minor, since the general thesis still seems to me quite defensible. (shrink)

The Cavendish Society, which lasted from 1846 to 1872, was one of a large number of Victorian subscription printing clubs which published translations, re-issued historical works or commissioned original books which were too specialized for commercial publication. The Society's book production was limited, being principally devoted to a translation of L. Gmelin, Handbook of chemistry. Reasons for its limited success are sought in the institutionalization of chemistry during the 1840s and in a divergence of interests between academic and practising chemists.

In accordance with Leo Strauss’s ingenious suggestion, the Athenian Stranger of Plato’s Laws is best understood as an alternative ‘Socrates’, fleeing from the hemlock to Crete. Situated between Crito and Phaedo, Laws effectively tests the reader’s loyalty to the real Socrates who obeys Athenian law and dies cheerfully in Athens. Having separated Plato from the Stranger, a nuanced defence of Karl Popper’s suspicions about Laws confronts the apologetic readings of both Strauss and Christopher Bobonich. As hinted by his preference for (...) wine, the antidote for hemlock, the Athenian Stranger repeatedly proves himself the opposite of Socrates, particularly with respect to piety. Once the Stranger is recognized as ‘an unreliable narrator’, this apparently ponderous product of Plato’s senility becomes the taut thriller of an innovative teacher at the peak of his powers. (shrink)