In the last half-century Ludwig Wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged. Wittgenstein's Tractatus Logico-Philosophicus was published in 1922 - the annus mirabilis of modernism - alongside Joyce's Ulysses, Eliot's The Waste Land, Mansfield's The Garden Party and Woolf's Jacob's Room. Bertolt Brecht's first play to be produced, Drums in the Night, was first staged in 1922, as was Jean Cocteau's Antigone, with settings by Pablo Picasso and music (...) by Arthur Honegger. In different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. Wittgenstein's Tractatus can be read as defining, expressing and reacting to this crisis. In his later philosophy, Wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. If the gist of modernism is self-reflection and attention to the way form expresses content, then Wittgenstein's later ideas - in their fragmented form as well as their “ear-opening” contents - deliver it most precisely. Understanding Wittgenstein, Understanding Modernism shows Wittgenstein's work, both early and late, to be closely linked to the modernist Geist that prevailed during his lifetime. Yet it would be wrong to argue that Wittgenstein was a modernist tout court. For Wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. It needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. It is such a vision of the linkage between Wittgenstein and modernism that guides the present volume. (shrink)

This unique collection looks at analytic philosophy in its historical context. Prominent philosophers discuss key figures, including Russell and Wittgenstein, methods and results in analytic philosophy to present its story. This volume assesses the challenge posed by changing cultural and philosophical trends and movements.

Introduction: Dummett's Key Traits Following what has been suggested in the preface, in order to understand Dummett's perspective as fully as possible ...

In this article I suggest a way of overcoming the traditional dichotomy between analytic and continental philosophy by pointing at some similarities between apparently disparate philosophical approaches, viz. those of Michael Dummett and Jürgen Habermas. The comparison revolves around the so-called 'paradox of analysis', which poses a dilemma concerning philosophical propositions: these are allegedly shown to be either trivial or unsecured. Both Dummett and Habermas offer ways out of the dilemma, through recognition of the intersection of analysis with life. A (...) transcendentally characterized conception of language is conceived by both as the only way to overcome the haunting objective -subjective distinction. Thus they offer fresh insights into the nature of meaning and truth, and the place these occupy within philosophical systems. Both philosophers take the notions of justification and procedural rationality to be primary in the order of philosophical explanation. Meaning is not conceived in terms of representation and truth conditions, but in terms of validity claims. Truth is not viewed as independent and static, but as historically conditioned and constantly unfolding. As a result, even the statements of logic, and certainly those of philosophy, find a place between the alleged emptiness of analyticity and the robust empirical character of science. This common ground represents, I believe, one of the new faces of post-analytic -and hence also post-continental -philosophy. Parts of it are shared by other contemporary philosophers, such as Derrida and Brandom. What marks this new Weltanschauung is the way it surpasses the current eliminativist trends in philosophy. (shrink)

Modernism can be characterised by the acute attention it gives to language, to its potential and its limitations. Philosophers, artists and literary critics working in the first third of the twentieth century emphasized language’s creative potential, but also stressed its inability to express meaning completely and accurately. In particular, modernists shared the belief that the kind of truth sub specie aeterni that was sought by philosophers was either meaningless or was more appropriately expressed by the arts – especially by literature (...) and poetry. Modernism and the Language of Philosophy addresses the challenge this belief presented to philosophy, and argues that the modernist assumption rests upon a host of unacknowledged, repressed or denied dogmas or tacit images. Drawing in particular upon the work of Michale Dummett and Jacques Derrida, this book explores a new solution to this crisis in philosophical language, and it is these two philosophers who drive the narrative of the book and offer perspectives through which both past and present day philosophers are examined.  . (shrink)

Modernism can be characterised by the acute attention it gives to language, to its potential and its limitations. Philosophers, artists and literary critics working in the first third of the twentieth century emphasized language’s creative potential, but also stressed its inability to express meaning completely and accurately. In particular, modernists shared the belief that the kind of truth _sub specie aeterni_ that was sought by philosophers was either meaningless or was more appropriately expressed by the arts – especially by literature (...) and poetry. _Modernism and the Language of Philosophy_ addresses the challenge this belief presented to philosophy, and argues that the modernist assumption rests upon a host of unacknowledged, repressed or denied dogmas or tacit images. Drawing in particular upon the work of Michale Dummett and Jacques Derrida, this book explores a new solution to this crisis in philosophical language, and it is these two philosophers who drive the narrative of the book and offer perspectives through which both past and present day philosophers are examined. (shrink)

The article links Blanchot’s philosophical and political ideas. Embarking from his recurrent dialogue with Wittgenstein’s Tractatus, it traces the development of Blanchot’s “dissident” version of modernism and his notion of “writing”, alongside his post-war political involvement and writing. I argue that Blanchot never relinquished the purist modernist idea of the privilege of writing and with it the privilege of his own self-identification primarily as a writer. It is my contention that this emphasis sometimes obfuscated his vision, both conceptually and politically. (...) I exemplify my claim by appealing to Blanchot’s unconditional support of Israel and Zionism. (shrink)

"There is no God, but ...' : the disavowed presence of the divine -- 'Resolve the religious world into its secular basis' : sense and sensibility -- 'I only have eyes for you' : ethics as meta-politics -- Conclusion: 'Back to the rough ground!'.