What is the relationship between the world and logic, between intuition and language, between objects and their quantitative determinations? Rationalists, on the one hand, hold that the world is structured in a rational way. Representationalists, on the other hand, assume that language, logic, and mathematics are only the means to order and describe the intuitively given world. In World and Logic, Jens Lemanski takes up three surprising arguments from Arthur Schopenhauer’s hitherto undiscovered Berlin Lectures, which concern the philosophy of language, (...) logic, and mathematics. Based on these arguments, Lemanski develops a new position entitled ‘rational representationalism’: the world is always structured by human beings according to linguistic, logical, and mathematical principles, but the basic vocabulary of these structural descriptions already contains metaphors taken from the world around us. (shrink)

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...) the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

The religious and spiritual aspects of Wittgenstein, his understanding of ‘das mystiche’ and his philosophy understood against the background of German mysticism has been commented on by authors to...

Volume 51, Issue 10, September 2019, Page 981-990.

In this paper, we will discuss solipsism and the limits of experience in the light of Wittgenstein’s TLP. One cannot draw the limits of experience without bringing in the notion of the experiencer. That is to say, the notion of self is very relevant to the discussion on the limits of experience. Solipsism means that ‘I’ is the only reality, and what I experience is all that I could know. We will focus on solipsism from two points of view, the (...) empirical point of view and the transcendental point of view. The empirical approach to solipsism makes the self as a matter of its experience. However, from the transcendental point of view, the transcendental or metaphysical self becomes the transcendental ground of our experiences. In the second section, we will discuss the relationship between solipsism and realism. Then how the self is related to the world will be discussed in the third section. For Wittgenstein, the self ‘I' is neither causally nor logically related to the world. This self is the metaphysical subject, and it is the limit of the world. In the fourth section, we will discuss the importance of the limit-self. The limit-self is not the matter or object of experience; rather, it is the ground of our world's experience. For Wittgenstein, it is not an item of the world; rather, it is the limit of the world. The limit-self cannot be described in language, and thus it is beyond our language. It is the limit of our language and also the limit of the world. Then, we will critically analyze the limit of experience, and the metaphysical self is placed on the limit of experience. This self is the non-solipsistic self. (shrink)

For Arthur Schopenhauer (1788-1860), logic as a discipline belongs to the human faculty of reason, more precisely to the faculty of language. This discipline of logic breaks down into two areas. Logic or analytics is one side of the coin; dialectic or the art of persuasion is the other. The former investigates rule-oriented and monological language. The latter investigates result-oriented language and persuasive language...

In previous research, Schopenhauer is regarded as a consistent representative of a classical picture theory of language. The paper shows, however, that Schopenhauer does not only present a use theory of meaning in his lectures on logic, but also justifies it with the help of the context principle. Furthermore, it is discussed to what extent Schopenhauer's use theory of meaning is similar to the semantic theory of Ludwig Wittgenstein and his successors.