Investigating Wittgenstein by Merrill B. Hintikka, Jaakko Hintikka

By Merrill B. Hintikka, Jaakko Hintikka

A revolutioinary interpretation of the paintings of Ludwig Wittgenstein, this publication provides an research of his early paintings within the "Tractatus" and its sluggish transformation within the later philosophy of the "Investigations". The authors suggest an intensive interpretation of the "Tractatus" and argue that the gadgets of the "Tractatus" are yet Russellian items of acquaintance in conceal. hence within the "Tractatus" Wittgenstein appeared phenomenological language as logically right. even if, in 1929, based on the authors, he deserted the phenomenological perception of language in favour of a physicalist one and it's inside of this new framework that the "Philosophical Investigations" could be such a lot fruitfully understood.

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Childhood is a time of naive immediacy that is always already lost in any state of conscious reflection, a golden age51 that is still present in the memory of its loss. He writes: ‘All fairy tales are only dreams of that home that is everywhere and nowhere. ’52 What he means by ‘genius’ here is a naive openness to the external world, uninhibited by self-consciousness: ‘[T]he genius . . ’ Childhood is another form of the prelapsarian state. In his Fichte Studies, Novalis argues that consciousness is founded upon a primordial intuition of being that by its very nature it cannot apprehend.

Aesthetic contemplation domesticates nature, turning things into 30 Alienation After Derrida objects subjected to the human eye. Objectification qua domestication is necessary for human freedom qua power over nature. Schiller writes: That which hitherto merely dominated him as force, now stands before his eyes as object. 41 Aesthetic play involves an interest and delight in superficial appearance, or semblance, rather than in reality; but in this case it is not the semblance of something real, but pure semblance itself.

In his poetry there is the figure of ‘the stranger’, someone who bears the memory of a lost golden age and hopes for its return. ’50 The theme of homesickness also appears in his comments about childhood. Childhood is a time of naive immediacy that is always already lost in any state of conscious reflection, a golden age51 that is still present in the memory of its loss. He writes: ‘All fairy tales are only dreams of that home that is everywhere and nowhere. ’52 What he means by ‘genius’ here is a naive openness to the external world, uninhibited by self-consciousness: ‘[T]he genius .

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