Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

There are certain remarks in Culture and Value in which Wittgenstein writes about Jews and about what he describes as their ‘Jewish mind’. In these remarks he appears to be trying to make a distinction between two different spiritual forces which operate in Western culture and which give rise to two different types of artists and works of art. On one side of the divide are Jews and works of art imbued with Jewish spirit. On the other side are men (...) of culture and works of art which exhibit a non-Jewish spirit. Among the various remarks made in this context, he offers the following thoughts about the spiritual nature of Jews, their mentality, character and artistic achievements: ‘You get tragedy when a tree, instead of bending, breaks. Tragedy is something un-Jewish’ . Following Renan he writes: ‘The Semitic races have an unpoetic mentality, which heads straight for what is concrete’ . This, he explains, is because Jews are attracted by ‘pure intellectualism’. ‘I think it would be possible now to have a form of theatre played in masks. The characters would simply be stylized human types.’ ‘Masked theatre is anyway the expression of an intellectualistic character. And for the same reason perhaps it is a theatrical form that will attract only Jews’ . ‘The Jew is a desert region, but underneath its thin layer of rock lies the molten lava of spirit and intellect’ . ‘It is typical for a Jewish mind to understand somebody else's work better than that person understands it himself.’ But intellect, it seems, is not a mental attribute providing for genius and true creative powers. ‘Amongst Jews “genius” is found only in the holy man. Even the greatest of Jewish thinkers is no more than talented. … It might be said that the Jewish mind does not have the power to produce even the tiniest flower or blade of grass; its way is rather to make a drawing of the flower or blade of grass which has grown in the soil of another's mind and to put it into a comprehensive picture. We aren't pointing to a fault when we say this and everything is all right as long as what is being done is quite clear. It is only when the nature of a Jewish work is confused with that of a non-Jewish work that there is any danger, especially when the author of the Jewish work falls into the confusion himself, as he so easily may. ’. (shrink)

The work of the eye has a powerful influence across culture and philosophy—not least in Goethe's approach to understanding. Aligned to aesthetic appreciation, seeing has the potential to offer an authorial gift of ‘other-ness’ when brought to bear on evaluative relationships. Yet this penetrating gaze might also be seen as limiting when put to work in the services of ‘other’. From the subtle sideways glance, to the lingering gaze of lovers, a look can mean many things. But the eye does (...) not work alone—what can be seen is directly impacted by the ideologies that influence interpretation, the time and space of its origin, and the genre of its capture. But it is only later, through post-modern eyes, that the image finally falls victim to its subjective stance and can be thus rendered obsolete. As such, the work of the eye far exceeds literal notions of visuality. These same tensions are evident in the work of the early Bakhtin Circle through their engagement with neo-Kantism, Russian formalism, phenomenology and Russian Avant-Gardes. In this article the art of seeing is reconciled in educational practice for the early years as a relational event through Goethian-inspired interpretations of visual surplus and aesthetics. Through this lens seeing is brought to life as an encounter of authorship—implicating the ‘I’—as a potential relationship of meaning and accountability at the centre of visuality. (shrink)

ABSTRACT In order to explore what it means to pursue philosophical investigations for theological reasons, this paper argues that Ludwig Wittgenstein continues and corrects Pseudo-Denys’ project in The Divine Names. I first argue that The Divine Names should be interpreted as attempting to render human thought transparent to the divine by relativizing our concepts. The success of this project is compromised because the concept of ‘unity’ is not relativized. I then develop the claim that Wittgenstein does relativize unity in a (...) similar way and for similar religious reasons to Pseudo-Denys. As such, he can be read as continuing and correcting the Pseudo-Dionysian project. I conclude by reflecting on several of this argument’s implications for the relationship between philosophy and Christian systematic theology. (shrink)

Many classic philosophical debates converge on the twin questions ‘What is man?’ and ‘What is his place in nature?’, in the sense that taking up a position in those debates normally commits one to a certain range of answers to these questions. Such answers typically lie near the centre of one's web of belief, deeply entrenched in the structure of one's concepts, and thus remain remarkably resistant to the standard techniques of confirmation and refutation.

The idea of immanent transcendence is constitutive for Winch's philosophy of religion and his ethics. Winch's philosophy of religion insists on the ‘immanent’ dimension of religion. His ethics insists on the ‘transcendent’ dimension of ethics. In this sense, both religion and ethics embody a perspective ‘beyond’ this world and yet must have practical consequences in this world. Transcendence without immanence is idle, and immanence without transcendence is empty—this is the kernel of Winch's philosophy of religion and of his ethics.

Whereas Christians often give guilt a prominent role, Buddhists are encouraged not to dwell on feelings of guilt. Leading members of the Triratna organisation – Sangharakshita, Subhuti and Subhadramati – characterise guilt as a negative emotion that hinders spiritual growth. However, if we carefully examine the concept of guilt in the manner of Wittgenstein we find that the accounts of guilt given by leading members of Triratna mischaracterise it and so ignore its positive aspects. They should acknowledge the valuable role (...) that guilt can play in our lives. (shrink)

Jean Baudrillard, the misfit. Jean Baudrillard, who told us that the Gulf Warnever happened, who drew our attention to the perils of a civilization thatchoses to lead a virtual existence in an arena of images and simulacra - this isthe Baudrillard we are mostly familiar with. But Jean Baudrillard, thechampion of appearances? Baudrillard, more-feminist-than-the-feminists?This Baudrillard remains buried in the stacks of a prolific career spanningover forty years and involving some of the most radical systematicdeconstructions of Western culture, society and politics. (...) Baudrillard hasprimarily been heralded as an enemy of the world of images, the surfacesuperficiality of consumer culture; it stands as no surprise, then, that in mosttheoretical assessments of his work there is little mention of Seduction , a text aimed at restoring a great amount of value to the surface ofthings.1While apostles of Baudrillard such as Norman K. Denzin tend tooffer brief and, in this writer’s opinion, erroneous summaries of seduction’s‘potential of unmasking the order of appearances’ , Seduction hasyet to be understood as a praise for the world of appearances, play, andreversibility, as encouragement for the resistance of the orders of law certainty, and production. 2 In the following pages, I hope to introduce readers to a fascinating but often overlooked text of Baudrillard’s and, in doing so, to demonstrate that Baudrillard’s text offers a unique and yet unexplored insight into the dichotomous and contradictory nature of cinema - this medium which as an instrument of popular culture acts according to the modern logic of production, but as a form owes more to the transformative and playful semiology of the pre-modern. (shrink)

There seems to be an overall agreement that parents qua parents are, almost by definition, in need of support and hence that there is always a ‘parental deficit’. In order to help parents out many initiatives are taken, predominantly drawing from a technical conception of parenting. This particular conception defines the deficit as a shortage of practical and theoretical knowledge, and conceives of the predicament of parenting or upbringing as something that can be successfully dealt with. Two criticisms are developed (...) in this article. First, this conception of parenting is exposed as a ‘frictionless fiction’ that makes a very strong appeal to many of us, inhabitants of late modern Western societies, perhaps because it promises answers where there are none to be given. Second, a different conception of the parental deficit is developed following Ramaekers and Suissa who spelled out a parental hermeneutical-existential deficit drawing upon Cavell. This specific kind of deficit picks out another kind of support. I develop this alternative by sketching a figure of strong engagement that provides parent support. (shrink)

Relativism has always proved tempting when people who had previously lived a settled and complacent life have suddenly been confronted with new and different ideas or practices. The obvious example is the ferment produced in ancient Athens when the contrast with Eastern ideas chronicled by Herodotus showed vividly that not everyone thought like the Athenians, or even the Greeks. The result was a far-reaching scepticism. Protagoras, according to Plato, maintained that man is the measure of all things and anything ‘is (...) to me as it appears to me and is to you as it appears to you’. (shrink)

‘Gaslighting’ describes a form of manipulation that induces doubt in someone’s perceptions, experiences, understanding of events or conception of reality in general. But what kind of doubt is it? How do ‘ordinary’ epistemic doubts differ from those doubts that can lead to despair and the feeling of losing one’s mind? The phenomenon of ‘gaslighting’ has been attracting public attention for some time and has recently found its way into philosophical reflections that address moral, sexist and epistemic aspects of gaslighting. Little (...) has been said, however, about the nature of gaslighting-induced doubts themselves, how they differ from ordinary, even ‘reasonable’ epistemic (self-) doubts and how it can come to someone doubting their own perception and conception of reality in the first place. The aim of this paper is to shed some light on these aspects by drawing on some of Wittgenstein’s remarks on doubt, published mainly in On Certainty. To this end, I will first outline the phenomenon of gaslighting as an epistemic injustice before presenting Wittgenstein’s reflections on doubt(ing). These will then be applied to the phenomenon of gaslighting, with a more specific focus on the evocation of such fundamental self-doubt in successful gaslighting, again drawing on some of Wittgenstein’s remarks. (shrink)

ABSTRACTThis article retrieves, situates, and interprets Ludwig Wittgenstein's overlooked remarks about the composer Gustav Mahler, and connects them with Wittgenstein's philosophical perspective and practice, as well as with his musical aesthetics.

pour l'autre en nous et parmi nousAn apologia seeks to cover up the revolutionary moments in the course of history. The establishment of continuity is dear to its heart. It only gives importance to those elements of a work that have already generated an after-effect. It misses those points at which the transmission breaks down and thus misses those jags and crags that offer a handhold to someone who wishes to move beyond them.I am all the same convinced that these (...) notes [in Culture and Value] can be properly understood and appreciated only against the background of Wittgenstein’ s philosophy and, furthermore, that they make a contribution to our understanding of that philosophy. (shrink)

Philosophy, as it is understood and practiced in the West, is and has been generally considered to be the search for truth. But even if philosophy is the search for truth, it does not automatically follow that those who are identified as ‘philosophers’ are themselves actually engaged in that search. And indeed, in this paper I argue that many philosophers have in fact not been genuinely engaged in the search for truth (in other words, many philosophers have not been doing (...) philosophy) and as such much of what passes for philosophy is in fact not really philosophy at all. (shrink)

Drawing on experience teaching secondary philosophy students, I investigate meaningful engagement with Wittgenstein in a Grade 12 epistemology unit. The premise is that without some introduction to landmark philosophers of the early twentieth century, students are left out of many contemporary philosophical conversations: linguistic idealism or relativism, and nominalism versus realism. Wanting to share with students Foucault, Rorty, and Hacking, I need expedient avenues of approach. Using Wittgenstein's methods I offer practical, ‘shallow grounds’ for an eclectic syllabus conveying post-foundational epistemology, (...) justifying Wittgenstein's inclusion in a textbook written for diverse teenagers. Acknowledging teens’ marginality, I draw on Hekman and Scheman's appropriation of Wittgenstein to advance feminist critiques of enthralling traps in [masculinist] language: exploring nature/nurture boundaries (ferals, cyborgs, and ‘gender performativity’) toward combating discrimination in schools. Heeding Cavell, I.. (shrink)

Can on-line ‘place-based learning’ be more than a facsimile or ritual? Using a phenomenology of my pandemic practice, I investigate the meaning of ‘place-based learning:’ entertaining Aristotle’s seminal thought on place as a container to venture into contemporary phenomenological inquiries where places and things are not only conceptually implicated by each other, but immanent and potentially powerful elements in learning experiences. Bonnett’s (2021) ecologizing of education shows that authentic forms must be embodied and emplaced in order to open learners to (...) the more in situ, deeply-contextualized and yet ‘transcendental’ and ‘ecstatic’ reception of the more-than-human realm of nature (as what comes-forth, phusis). But this Heideggerian narrative with which I resonate poses challenges for students and place-based educators. Wittgenstein’s philosophical approach, itself modelled on place-based investigation of language (our ‘home city’), draws me back from metaphysical inclinations to dwell constructively on ordinary discourses rooted in educational practices. (shrink)

Journal of Philosophy of Education, EarlyView.

In his later lectures, published as The Hermeneutics of the Subject, Michel Foucault surveys different modalities of obtaining ‘truth’ about one's self and the world: from Socrates to the Cynics, Stoics, Epicureans and early church writers. Genealogically tracing this opposition between knowing self and world, he occasionally invites phenomenological enquiry into how this epistemic couplet bears on education. Drawing on three vignettes familiar to educators, my investigation explores modes of discovering self and world through counselling, distributed governance in the classroom (...) and the arts of writing. In each case we confront a paradox of freedom, in that agency is needed, already, to liberate the self from the world. An exegetical task is to show how Foucault worked through this philosophical problem, of relevance to many situations in education, by re-reading Kant, Nietzsche and Heidegger. (shrink)

Alasdair MacIntyre's landmark book After Virtue, first published in 1981, begins with sobering words, the resonance of which has, in the three decades since then, been felt by many. We live in a wo...

Wittgenstein's theory of aspect perception has been taken up by scholars interested in the ways that people take in and interpret visual stimuli. Within this field of inquiry, Wittgenstein proposes the notion of “aspect blindness,” the failure of a person to see a particular aspect or expression. An important turn in the use of Wittgenstein's aspect perception has not always been in the ways that deviating perspectives fail to “see” in the same way that the normative category “sees,” but in (...) the ways that those on the constructed margins turn a critical eye on the failure of normative “seeing.” Using this framework, this article turns to critique the racism and “aspect blindness” embedded in whiteness. It examines Enlightenment scientific racism and the racialized hierarchies used as the justification for excluding some people from the category of humanity. The work finishes by linking with insights developed within the Black Lives Matter movement. (shrink)

Wittgenstein raises the notion of “conversion” in philosophy through his claims that philosophical understanding is a matter of the will rather than the intellect. Soulez examines this notion in Wittgenstein's philosophy through a series of reflections on the aims and methodology of his philosophical “grammar,” in relation to comparable models among Wittgenstein's contemporaries and from the history of philosophy.

As a motive, self-interest is constituted by a certain kind of concern for oneself; but we also use the term “self-interest” to refer to the object of such a motive, to the well-being or good life sought by a self-interested agent. In this essay, I want to concentrate on self-interest in the latter sense and say something about how self-interest or well-being relates to virtue. One reason to be interested in this relationship stems from our concern to know whether virtue (...) pays, i.e., is in the moral agent's self-interest, a question which Plato notably asks in the Republic and which has been of concern to moral philosophers ever since. But the importance for ethics of notions like virtue and self-interest is hardly exhausted by their role in the debate over whether virtue pays; indeed, any large-scale ethical theory will presumably have something to say about how these major notions relate, so we have reason to want to understand this relationship independent of the particular desire to show that morality or virtue is in the self-interest of the agent. It will be a background assumption of this essay that some ways of connecting virtue and well-being/self-interest redound to the advantage of the larger theories that incorporate them. If, in particular, we believe in the bona fides of ethical theory, then unifying power is a desideratum in ethics and it stands in favor of utilitarianism that it offers us a way of unifying our understanding of virtue and well-being. To be sure, that advantage may to some extent or ultimately be undercut if unification leads to counterintuitive ethical consequences. (shrink)

Destaco algunas de las aportaciones de autores contemporáneos que han abordado el tema del humor desde un punto de vista ético, principalmente: Ronald de Sousa, Joseph Boskin, John Morreall, Simon Critchley y Vittorio Hösle. Partiendo de su pensamiento, defiendo que la «ética del humor» tiene, al menos, las siguientes características: nos ayuda a reconocer los valores éticos en los que realmente creemos, detecta el humor éticamente incorrecto que mantiene estereotipos, fomenta el desarrollo de virtudes, critica los vicios de la sociedad (...) contribuyendo a construir una sociedad más ética, y justifica con razones adecuadas la risa que trata de mejorar éticamente a la sociedad. I emphasize some of the contributions of contemporary authors that deal with the issue of humor from an ethical perspective, mainly: Ronald de Sousa, Joseph Boskin, John Morreall, Simon Critchley and Vittorio Hösle. Starting from their thoughts I defend that the «ethics of humor» has, at least, the following features: it helps us to recognize the ethical values in which we really believe, it detects the ethically incorrect humor that maintains stereotypes, it promotes the development of virtues, it criticize the vices of the society contributing to build a more ethical society, and justifies with adequate reasons the laughing that tries to improve ethically our society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Through the Body, Educating for the Humanities:A Plea for SomaestheticsRichard Shusterman (bio)IWhat are the humanities, and how should they be cultivated? With respect to this crucial question, opinions differ as to how widely the humanities should be construed and pursued. Initially connoting the study of Greek and Roman classics, the concept now more generally covers arts and letters, history, and philosophy.1 But does it also include the social (...) sciences, which are often distinguished from the humanities and grouped as a separate academic division with greater pretensions to scientific status? And should our pursuit of humanistic study be concentrated on the traditional methods and topics of high culture that give the humanities an authoritative aura of established nobility, or should it extend to new and funkier forms of interdisciplinary research such as popular culture or race and gender studies?Despite such questions and controversy, it is clear (even from etymology) that the meaning of the humanities essentially relates to our human condition and our efforts to perfect our humanity and its expression. But what, then, does it mean to be human? I cannot pretend here to adequately answer such a complex and difficult question. I will, however, argue that because the body is an essential and valuable dimension of our humanity, it should be recognized as a crucial topic of humanistic study and experiential learning. Though the truth of this thesis should be obvious, it goes sharply against the grain of our traditional understanding of the humanities. One striking example of such antisomatic bias is the very term that German speakers use to designate the humanities, "Geisteswissenschaften," whose literal English translation would be "spiritual (or mental) sciences," as contrasted to the natural sciences (Naturwissenschaften) that treat physical life, [End Page 1] with which, of course, the body is clearly linked. Hence, given the pervasive physical/spiritual opposition, the body is essentially omitted or marginalized in our conception of humanistic studies.2We humanist intellectuals generally take the body for granted because we are so passionately interested in the life of the mind and the creative arts that express our human spirit. But the body is not only an essential dimension of our humanity, it is also the basic instrument of all human performance, our tool of tools, a necessity for all our perception, action, and even thought. Just as skilled builders need expert knowledge of their tools, so we need better somatic knowledge to improve our understanding and performance in the arts and human sciences and to advance our mastery in the highest art of all—that of perfecting our humanity and living better lives. We need to think more carefully through the body in order to cultivate ourselves and edify our students because true humanity is not a mere genetic given but an educational achievement in which body, mind, and culture must be thoroughly integrated. To pursue this project of somatic inquiry, I have been working on an interdisciplinary field called somaesthetics, whose disciplinary connections extend also beyond the humanities to the biological, cognitive, and health sciences, which I see as valuable allies for humanistic research.3Somaesthetics, roughly defined, concerns the body as a locus of sensory-aesthetic appreciation (aisthesis) and creative self-fashioning. As an ameliorative discipline of both theory and practice, it aims to enrich not only our abstract, discursive knowledge of the body but also our lived somatic experience and performance; it seeks to enhance the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our movements contribute and from which they also draw their energies and significance. Somaesthetics, therefore, involves a wide range of knowledge forms and disciplines that structure such somatic care or can improve it. Recognizing that body, mind, and culture are deeply codependent, somaesthetics comprises an interdisciplinary research program to integrate their study. Mental life relies on somatic experience and cannot be wholly separated from bodily processes, even if it cannot be wholly reduced to them. We think and feel with our bodies, especially with the body parts that constitute the brain and nervous system. Our bodies are likewise affected by mental life, as when certain thoughts bring a blush to... (shrink)

This article explores the psychoanalytic points of commonality between stand‐up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand‐up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.

Wittgenstein is not primarily concerned with anything mysterious going on inside people's heads, but with us simply going on with each other; that is, with us being able to inter-relate our everyday, bodily activities in unproblematic ways in with those of others, in practice. Learning to communicate with clear and unequivocal meanings; to send messages; to fully understand each other; to be able to reach out, so to speak, from within language-game entwined forms of life, and to talk in theoretical (...) terms of the contacts one has made., as an individual, with what is out there; and so on — all these abilities are, or can be, later developments. Wittgenstein's investigations into our pre-individual, pre-theoretical, embodied, compulsive activities are utterly revolutionary. They open up a vast new realm for empirical study to do with the detailed and subtle nature of the bodily activities in the background to everything that we do. The relational character of such pre-theoretical, Ur-linguistic, spontaneous bodily activities—and the way in which they display us as seeing connections from within a synopsis of trivialities — is explored through the paradigm of currently fashionable 3–13 random dot autostereograms. (shrink)

This study reviews some of the principal themes in contemporary work on religious language. Unlike other recent surveys, the most pressing issues about religious language are addressed from the perspective of the philosophy of language; different positions taken on these issues by philosophers of religion and theologians are considered. Topics that are covered include: the subject matter of religious discourse, reductionism and subjectivism, expressivism, the nature of religious metaphor, religious fictionalism and truth in religious discourse. The study also looks at (...) the relationship between questions about religious language and cognate areas of philosophy of religion such as epistemology and metaphysics, and potential future directions of research. (shrink)

Does it follow from Wittgenstein's views about indeterminism that irregularities of nature could take place? Did he believe that chairs could simply disappear and reappear, that water could behave differently than it has, and that a man throwing a fair die might throw ones for a week? Or are these things only imaginable? Is his view simply that if we adopted an indeterministic point of view we would no longer look for causes, or would not always look for causes, because (...) we would no longer assume that there must be a cause of each event? (shrink)

Contrary to a widespread interpretation, Wittgenstein did not regard credal statements as merely metaphorical expressions of an attitude towards life. He accepted that Christian faith involves belief in God's existence. At the same time he held that although as a hypothesis, God's existence is extremely implausible, Christian faith is not unreasonable. Is that a consistent view? According to Wittgenstein, religious faith should not be seen as a hypothesis, based on evidence, but as grounded in a proto‐religious attitude, a way of (...) experiencing the world or certain aspects of it. A belief in religious metaphysics is not the basis of one's faith, but a mere epiphenomenon. Given further that religious doctrine is both falsification‐transcendent and that religious faith is likely to have beneficial psychological effects, religious doctrine can be exempt from ordinary standards of epistemic support. An unsupported religious belief need not be unreasonable. However, it is hard to see how one could knowingly have such an unsupported belief, as Wittgenstein seems to envisage. How can one believe what, at the same time, one believes is not likely to be true? This, I argue, is the unresolved tension in Wittgenstein's philosophy of religion. (shrink)

ABSTRACTIn this paper, I am going to propose a new reading of Wittgenstein’s cryptic talk of ‘accession or loss of meaning’ in the Notebooks that draws both on Wittgenstein’s later work on aspect-perception, as well as on the thoughts of a thinker whom Wittgenstein greatly admired: Søren Kierkegaard. I will then go on to argue that, its merits apart, there is something existentially problematic about the conception that Wittgenstein is advocating. For the renunciation of the comforts of the world that (...) Wittgenstein proposes as a way of coping with the brute contingencies of life seems only to come as far as what Kierkegaard calls ‘infinite resignation’, and this falls far short of the joyful acceptance of existence that appears necessary for inhabiting what Wittgenstein calls a happy world. That is to say, I will show that what Wittgenstein’s proposal lacks is a way of reconnecting with the finite after one has renounced it – the kind of transformation of existence achieved by the person Kierkegaard calls the ‘knight of faith’. (shrink)

This paper offers a critique of a central psychopathological concept, the notion of "poor reality-testing. "Using ideas from the philosopher Ludwig Wittgenstein, I consider the nature of delusions in schizophrenia, largely through examining Daniel Paul Schreber's famous Memoirs of My Nervous Illness. Many schizophrenic individuals do not in fact mistake their fantasies for reality, as is traditionally assumed. Rather, I argue, they engage in a solipsistic mode of experience, a felt subjectivization of the lived world that is associated with a (...) stance of passivity and hyperconsciousness. I discuss the existential conditions and consequences of this stance and show that certain anomalous or paradoxical features of schizophrenic delusion are explicable on this phenomenological account. (shrink)

Moral particularism is often conceived as the view that there are no moral principles. However, its most fêted accounts focus almost exclusively on rules regarding actions and their features. Such action-centred particularism is, I argue, compatible with generalism at the level of character traits. The resulting view is a form of particularist virtue ethics. This endorses directives of the form ‘Be X’ but rejects any implication that the relevant X-ness must therefore always count in favour of an action.

Everything about Derrida suggests that he is for a radical reform or transformation of language, whilst Wittgenstein seems to vindicate a fidelity to ordinary language and to want to 'expunge' from language the 'metaphysical use' of words. But just how opposed are they? My contention in this paper is that Wittgenstein does not 'deconstruct', as some critics have rather loosely suggested, because, as we shall see, the expunging of metaphysical use favoured by Wittgenstein does not amount to the deconstruction of (...) metaphysical appurtenance practised by Derrida. However, there are interesting parallels to be drawn between the two philosophers which I shall try to articulate in the course of this paper. The first part provides the background, in Wittgenstein's writings, to his concept of 'metaphysi cal use'; the second is an exposition of what Derrida refers to as 'metaphysical appurtenance' and attendant notions such as those of binary oppositions and of the labouring of concepts; and the third is a summing up and a defence of the thesis that Wittgenstein does not, in any full-bodied sense of the term, 'deconstruct'. Key Words: Derrida • language • meaning • metaphysics • Wittgenstein. (shrink)

Poursuivant une idée discutée part Thomas Nagel, Rockney Jacobsen soutient que les désirs sexuels ont pour objets des activités que l’on croit affecter les états d’excitation sexuelle de certaines façons. Je soutiens que certains désirs sexuels ont plutôt pour objets des activités que l’on croit affecter les états d’attraction phénoménale. Contrairement à l’excitation sexuelle, l’attraction phénoménale ne peut être apaisée; il n’existe donc aucune activité qui puisse satisfaire les désirs sexuels phénoménaux basés sur l’attraction phénoménale. Cela explique pourquoi les activités (...) sexuelles sont si nombreuses et variées, et peut-être aussi comment autant d’activités sont en mesure d’affecter l’excitation sexuelle. (shrink)

Conventionally, it is true an essay has a structure that moves progressively and logically from a beginning to a conclusion. In this group of small essays, I would like to explore my interests in the arts and education by working more with broad strokes, letting meanings emerge from passages in a less linear way, more like a collage, for example. Perhaps such an approach will be congenial for the arts, which are elusive, felt and expressive as much as conceptual.