Hagberg Wittgenstein on Aesthetic Understanding

1. Auflage 2017
ISBN: 978-3-319-40910-8
Verlag: Springer Nature Switzerland
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 400 Seiten

Reihe: Philosophers in Depth

This book investigates the significance of Wittgenstein's philosophy for aesthetic understanding. Focusing on the aesthetic elements of Wittgenstein's philosophical work, the authors explore connections to contemporary currents in aesthetic thinking and the illuminating power of Wittgenstein's philosophy when considered in connection with the interpretation of specific works of literature, music, and the arts. The chapters presented here show what aesthetic understanding consists of and how we achieve it, how it might be articulated, and why it is important. At a time of strong renewal of interest in Wittgenstein's philosophy of mind and language, this book offers insight into the connections between the understanding of persons and the understanding of art.

Garry L. Hagberg is the James H. Ottaway Professor of Philosophy and Aesthetics at Bard College, USA, and was previously Professor of Philosophy at the University of East Anglia, UK. Author of numerous papers at the intersection of aesthetics and the philosophy of language, his books include: Meaning and Interpretation: Wittgenstein, Henry James, and Literary Knowledge (1994), Art as Language: Wittgenstein, Meaning, and Aesthetic Theory (1998), and Describing Ourselves: Wittgenstein and Autobiographical Consciousness (2011). He is editor of Art and Ethical Criticism, and of Fictional Characters, Real Problems: The Search for Ethical Content in Literature; co-editor of A Companion to the Philosophy of Literature; and editor of the journal Philosophy and Literature.

Autoren/Hrsg.

Hagberg, Garry L.

Inhaltsverzeichnis

1;Wittgenstein on Aesthetic Understanding;4
1.1;Contents;6
1.2;Introduction;8
2;Part I The Aesthetic Dimension of Wittgenstein’s Philosophical Work;18
2.1;1 The Aesthetic Dimension of Wittgenstein’s Later Writings;19
2.1.1;1.1 Music and Understanding Wittgenstein’s “Book”;22
2.1.2;1.2 Perspicuous Representation, Aesthetic Descriptions, and Aspect-Seeing;25
2.1.2.1;Philosophical Clarity and Perspicuous Representation;26
2.1.2.2;Critical Descriptions and the Experience of Music;29
2.1.2.3;The Case of the Dawning of an Aspect;31
2.1.3;1.3 Aspect-Seeing and Seeing an Internal Relation;33
2.1.4;1.4 Addendum: Aspect-Seeing and Giving Voice to Connections;41
2.1.5;References;43
2.2;2 Improvisation and Imagination in Wittgenstein’s Investigations;46
2.2.1;Bibliography;73
2.3;3 Wittgenstein, Music, and the Philosophy of Culture;76
2.3.1;3.1 Relational Networks;78
2.3.2;3.2 A Certain Sort of Kinship;83
2.3.3;3.3 Embodied Speech, Embodied Music;87
2.3.4;3.4 Circumstantial Sense;90
2.3.5;3.5 Musical Sense and Linguistic Capacities;92
2.3.6;3.6 The Theme Interacts with Language;95
2.3.7;3.7 Counterpoint: A Model of Cultural Understanding and Philosophical Method;99
2.3.8;3.8 Aspect-Perception and the Casting of Light;103
2.3.9;3.9 A Musical Stream of Life;106
2.3.10;References;108
3;Part II Narrative, Interpretation, and Literary Language;111
3.1;4 Is a Narrative a Something or a Nothing?;112
3.1.1;4.1 Structures, Scripts, and Their Component Parts;116
3.1.2;4.2 Emotional Cadences;123
3.1.3;4.3 Scales, Centers, Samples, and Two Modest Proposals;128
3.1.4;References;140
3.2;5 Narrative Aspect Change and Alternating Systems of Justice: A Wittgensteinian Reading of Borges;143
3.2.1;References;161
3.3;6 Thinking the Poem: Elizabeth Bishop’s Transcendental “Crusoe in England” (For Example);164
3.3.1;6.1 Thinking of Thinking;164
3.3.2;6.2 The Mind Thinking;180
3.3.3;6.3 Excursus: “A picture held us captive”;188
3.3.4;6.4 Bookkeeping;195
3.3.4.1;Accounting as Numerically Counting, Keeping Track;195
3.3.4.2;Accounting as Recounting and Projecting the Criteria of Concepts;199
3.3.5;6.5 “Home-made, home-made! But aren’t we all?”;211
3.3.5.1;Accounting as Acknowledging, Confessing, Auditing;211
3.3.6;Abbreviations;219
3.3.7;References;220
4;Part III Musical Understanding;226
4.1;7 Wittgenstein on Musical Depth and Our Knowledge of Humankind;227
4.1.1;References;254
4.2;8 Wittgenstein and the Inner Character of Musical Experience;258
4.2.1;8.1 Aspect Perception;260
4.2.2;8.2 Related Phenomena;266
4.2.3;8.3 Context and the Significance of ‘Clicks’;272
4.2.4;8.4 Intersubjectivity;280
4.2.5;8.5 Conclusion;283
4.2.6;References;288
4.3;9 Wittgenstein’s Criticism of a “Science of Aesthetics” and the Understanding of Music;290
4.3.1;9.1 Wittgenstein’s Criticism of Psychologism;292
4.3.1.1;Grammatical Investigations of the Concept of Understanding;293
4.3.2;9.2 Understanding Music;297
4.3.2.1;Hearing and Understanding;297
4.3.2.2;Private, Emotional Reactions to Music and Aesthetic Judgment;301
4.3.2.3;The Flexibility of the Concept of Understanding;306
4.3.3;Bibliography;309
4.3.3.1;Works by Wittgenstein;309
4.3.3.2;Other Sources;309
5;Part IV Experiencing Art and Perceiving Persons: An Intimate Connection;311
5.1;10 The Philosophy of the Face;312
5.1.1;10.1 Expression-blindness;312
5.1.2;10.2 The Face in History: Descartes and the Romantics;315
5.1.3;10.3 The Face in Theory: Levinas, de Man, and Deleuze;320
5.1.4;10.4 Wittgensteinian Physiognomy;324
5.1.5;References;332
5.2;11 Seeing Stars: the Reception and Ontology of Movie Stars;335
5.2.1;11.1 Carroll’s Problem;337
5.2.2;11.2 Wittgenstein and Seeing Stars;342
5.2.3;11.3 Stars and Narratives;346
5.2.4;11.4 Personal Lives;347
5.2.5;11.5 Carroll Again;350
5.2.6;11.6 Benjamin’s Aura;351
5.2.7;11.7 The Construction and Evolution of the Star;356
5.2.8;References;359
5.3;12 If an Artwork Could Speak: Aesthetic Understanding After Wittgenstein;361
5.3.1;Prologue;361
5.3.2;12.1 Understanding Art;363
5.3.3;12.2 On Not Getting It;369
5.3.4;12.3 Transport Studies;374
5.3.5;12.4 Meaning, Intention, and All That Jazz;379
5.3.6;Epilogue;382
5.3.7;References;383
6;Index;389