Paradox and Platitude in Wittgenstein's Philosophy is a concise and readable study of five intertwined themes at the heart of Wittgenstein's thought, written by one of his most eminent interpreters. David Pears offers penetrating investigations and lucid explications of some of the most influential and yet puzzling writings of twentieth-century philosophy. He focuses on the idea of language as a picture of the world; the phenomenon of linguistic regularity; the famous 'private language argument'; logical necessity; and ego and the self.

Published in 1953, Wittgenstein's Philosophical Investigations had a deeply unsettling effect upon our most basic philosophical ideas concerning thought, sensation and language. Its claim that philosophical questions of meaning necessitate a close analysis of the way we use language continues to influence Anglo-American philosophy today. However, its compressed and dialogic prose is not always easy to follow. This collection of essays deepens but also challenges our understanding of the work's major themes, such as the connection between meaning and use, the nature of concepts, thought and intentionality, and language games. Bringing together leading philosophers and Wittgenstein scholars, it offers a genuinely critical approach and demonstrating Wittgenstein's relevance for contemporary philosophy. This volume will appeal to readers interested in the later Wittgenstein, in addition to those interested in the philosophy of language, the philosophy of mind, metaphysics and epistemology.

An international journal of general philosophy.

Vols. for 1969- include a section of abstracts.

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make them possible. Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation.

In this book Saul Kripke brings his powerful philosophical intelligence to bear on Wittgenstein's analysis of the notion of following a rule.