When in May 1930, the Council of Trinity College, Cambridge, had to decide whether to renew Wittgenstein's research grant, it turned to Bertrand Russell for an assessment of the work Wittgenstein had been doing over the past year. His verdict: "The theories contained in this new work... are novel, very original and indubitably important. Whether they are true, I do not know. As a logician who likes simplicity, I should like to think that they are not, but from what I (...) have read of them I am quite sure that he ought to have an opportunity to work them out, since, when completed, they may easily prove to constitute a whole new philosophy." "[Philosophical Remarks] contains the seeds of Wittgenstein's later philosophy of mind and of mathematics. Principally, he here discusses the role of indispensable in language, criticizing Russell's The Analysis of Mind. He modifies the Tractatus's picture theory of meaning by stressing that the connection between the proposition and reality is not found in the picture itself. He analyzes generality in and out of mathematics, and the notions of proof and experiment. He formulates a pain/private-language argument and discusses both behaviorism and the verifiability principle. The work is difficult but important, and it belongs in every philosophy collection."—Robert Hoffman, Philosophy "Any serious student of Wittgenstein's work will want to study his Philosophical Remarks as a transitional book between his two great masterpieces. The Remarks is thus indispensible for anyone who seeks a complete understanding of Wittgenstein's philosophy."—Leonard Linsky, American Philosophical Association. (shrink)

This book provides an introduction to Plato’s work that gives a clear statement of what Plato has to say about the problems of thought and life. In particular, it tells the reader just what Plato says, and makes no attempt to force a system on the Platonic text or to trim Plato’s works to suit contemporary philosophical tastes. The author also gives an account that has historical fidelity - we cannot really understand the Republic or the Gorgias if we forget (...) that the Athens of the conversations is meant to be the Athens of Nicias or Cleon, not the very different Athens of Plato’s own manhood. To understand Plato’s thought we must see it in the right historical perspective. (shrink)

One of the ways in which a poet may show his quality is by discrimination and originality in his choice of adjectives. Poetry likes to adorn the bare noun; a noun such as ‘the sky’ calls out for an attribute. But in practice the poet has to take care to avoid the cliche. He can seldom write ‘the blue sky’; even ‘the azure sky’ has become trite. He has to search for the epithet which will be both apt and original.

We prove that the finite-model version of arithmetic with the divisibility relation is undecidable . Additionally we prove FM-representability theorem for this class of finite models. This means that a relation R on natural numbers can be described correctly on each input on almost all finite divisibility models if and only if R is of degree ≤0′. We obtain these results by interpreting addition and multiplication on initial segments of finite models with divisibility only.

What the nineteenth century knew of attamen or at tamen it did not learn from dictionaries. The two last revisions of Forcellini, Corradini's and De-Vit's, provided eight examples between them, of which three were false. Klotz added one, Georges two, Smith two: one of these five was false, and two more lie under much suspicion. Freund gave no instance whatsoever. In preparing his first volume, which appeared in 1834, he turned, like a good compiler, to the first volume of Hand's (...) Tursellinus, published in 1829. What he found there, on p. 450, was ‘de at tamen uide in tamen’; so he sat down quickly and wrote ‘attamen adv., s. tamen’. But Hand's Tursellinus, which never reached tamen, had proceeded no further than multum when Freund in 1840 produced the last volume of his dictionary; so he did not redeem his promise, and when you got there the cupboard was bare. This perfidy was faithfully imitated by the English and American dictionaries of Andrews, White and Riddle, Lewis and Short. To all intents and purposes one was left to depend on one's own reading and on the observations of Madvig at Cic. de fin. pp. 286 and 425 and opusc. I p. 491. (shrink)

This book is both an introduction to the philosophy of religion and a defence of the reasonableness, though not a proof of the truth, of Christianity. The topics of miracles, freedom, God's existence, religious experience, and evil are taken up in that order, with Hume, Kant, Aquinas, Otto, and Tennant serving as points of departure for the various discussions. Smart's approach to philosophy of religion runs counter to contemporary mainstreams. He sees the traditional problems, as traditionally formulated, as genuine problems. (...) Religions make claims to truth, and the defenders of religion must show that it is reasonable to believe that such claims are true. Smart's arguments are clear and lucid, but he does not seem to fully appreciate the force of objections to traditional Christian theism.—A. E. J. (shrink)

'PERHAPS WHAT is inexpressible (what I find mysterious and am not able to express)', wrote Wittgenstein, 'is the background against which whatever I could express has its meaning'. Wittgenstein's remark is a useful reminder to all who attempt to write about the nature and the value of art, for there our powers of expression often seem inadequate to the phenomena we aim to describe. In such cases it is natural to direct attention to the 'background' of aesthetic experience itself. In (...) consequence, many philosophical elucidations of art works will make good sense only to whose who are already engaged with them on their own terms—engaged with their distinctive character and forms. That this is so is perhaps most evident when the philosopher's target is the art of music. Roger Scruton's latest contribution to philosophical aesthetics, The Aesthetics of MusIc, is guided by a deep appreciation of the background of musical experience and he often allows music to speak for itself, through musical example and illustration. This study is exceptionally, if not uniquely, informed by a wide and thorough acquaintance with its subject matter, and it is commendably replete with references to, andmusic examples illustrating specific compositions. (shrink)