The Cambridge Companion to Wittgenstein (Cambridge by David G. Stern, Hans Sluga

By David G. Stern, Hans Sluga

Ludwig Wittgenstein is likely one of the most vital and influential philosophers of the 20th century, yet he's additionally one of many least available. This quantity presents a understandable consultant to his paintings by way of quite a lot of specialists who're actively engaged in new paintings on Wittgenstein. The essays, that are either expository and unique, handle significant subject matters in his philosophy of brain, language, good judgment, and arithmetic and make clear the connections one of the various phases within the improvement of his paintings.

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Extra info for The Cambridge Companion to Wittgenstein (Cambridge Companions to Philosophy)

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G. , Wittgenstein: Sources and Perspectives (Ithaca: Cornell University Press, 1979), p. 95. Peter Galison has discussed the confluence of the philosophical ideas of Wittgenstein and the Vienna Circle and the stylistic conceptions of the Bauhaus in his essay "Aufbau/Bauhaus: Logical Positivism and Architectural Modernism," in Critical Inquiry 16 (1990), pp. 709-52. Hans Sluga, "Zwischen Modernismus und Postmoderne: Wittgenstein und die Architektur," in J. Nautz and R. , Die Wiener fahrhundertwende (Vienna: Bohlau, 1993).

That, however, cannot be right, for ordinary names - say names of people, since a name can continue to have a meaning after its bearer ceases to exist. It is important to note that the word "meaning" is being used illicitly if it is used to signify the thing that "corresponds" to the word. That is to confound the meaning of a name with the bearer of the name. When Mr. N. N. Cambridge Companions Online © Cambridge University Press, 2006 Wittgenstein's critique of philosophy 39 dies, one says that the bearer of the name dies, not that the meaning dies.

Similarly, saying "I expect him any minute" is an expression of my expectation - a part of my expectant behavior and does not describe it; et cetera. " On an austere reading, he is merely suggesting a possibility and is in no way committing himself to a substantive position. To use an expression he employs elsewhere, he is merely presenting us with an "object of comparison" (PI, 131) that is intended to help break the spell of a fixed way of looking at things. This reading conforms with the general line of interpretation presented in this essay?

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