Abstract

The essential task of the philosophy of style is to uncover the irreducibility of the singular to any kind of universal, static structure or metalinguistic code. Style is not only a surplus element that exceeds propositional meaning, but also a clue of the ineradicable contingency of “intersubjective”‐communicational relationships. The receiver must respect the unique individuality of the sender's style as what demonstrates the cognitive inexhaustibility of the world. Consequently, philosophy can no longer regard literature as foreign and incorrigible by asserting a radical difference of genre and thereby reserving truth exclusively for itself. Rather, I go on to argue, the difference is merely one of quantity. The picture of the world drawn by literature is simply fuller and richer than any comparatively monochromatic system of philosophical propositions. However, within the history of philosophy, there have been instances when the philosophical import of literature has been accorded its due. One example is the dialogical approach of early German Romanticism. The other example is a writer most frequently considered the purest thinker of philosophical sense and meaning – namely, Ludwig Wittgenstein. I conclude by reading Wittgenstein as a philosopher concerned, above all, with the ineffable that style reveals.