Wittgenstein and Modernism is the first collection to address the rich, vexed, and often contradictory relationship between modernism, the 20th century s predominant cultural and artistic movement, and Wittgenstein, the most preeminent and enduring philosopher of the period. Although Wittgenstein famously declared that philosophy ought really to be written only as a form of poetry, we have yet to fully consider how Wittgenstein s philosophy relates to the poetic, literary, and artistic production that exemplifies the modernist era in which he lived and worked. Featuring contributions from scholars of philosophy and literature, the contributors put Wittgenstein s writing in dialogue with work by poets and novelists (James, Woolf, Kafka, Musil, Rilke, Hofmannsthal, Beckett, Bellow and Robinson) as well as philosophers and theorists (Karl Kraus, John Stuart Mill, Walter Benjamin, Michael Fried, Stanley Cavell). The volume illuminates two important aspects of Wittgenstein s work related to modernism and postmodernism: form and medium. Each of Wittgenstein s two major works not only advanced a revolutionary conception of philosophy, but also developed a revolutionary philosophical form to engage his readers in a mode of philosophical practice. As a whole this volume comprises an overarching argument about the importance of Wittgenstein for understanding modernism, and the importance of modernism for understanding Wittgenstein."

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.

In this groundbreaking new study, Ben Ware carries out a bold reassessment of the relationship between modernism and ethics, arguing that modernist literature and philosophy offer more than simply a snapshot of the moral conflicts of the past: they provide a crucial point of reference for today’s emancipatory struggles. Modernism in this assessment is characterized not only by a concern with language and aesthetic creativity, but also by a preoccupation with the question of how to live. Investigating ethical ideas in Wittgenstein, Beckett, Kierkegaard, Kant, Cavell, Marx, Henry James and Lacan, Ware demonstrates how these thinkers can bring us to a new understanding of a constellation of issues which contemporary radical thought must re-visit: utopia, repetition, perfectionism, subtraction, negativity, critique, absence, duty, revolution and political love. The result is a timely and provocative intervention, which re-draws the boundaries for future debates on the ethics and politics of modernism.

The 100th anniversary of the first publication of Wittgenstein’s Tractatus is celebrated by a collection of original papers by well-known experts on various aspects of one of the greatest works of philosophy in the twentieth century.

Is the point of philosophy to transmit beliefs about the world, or can it sometimes have higher ambitions? In this bold study, Karen Zumhagen-Yekplé makes a critical contribution to the “resolute” program of Wittgenstein scholarship, revealing his Tractatus Logico-Philosophicus as a complex, mock-theoretical puzzle designed to engage readers in the therapeutic self-clarification Wittgenstein saw as the true work of philosophy. Seen in this light, Wittgenstein resembles his modernist contemporaries more than might first appear. Like the literary innovators of his time, Wittgenstein believed in the productive power of difficulty, in varieties of spiritual experience, in the importance of age-old questions about life’s meaning, and in the possibility of transfigurative shifts toward the right way of seeing the world. In a series of absorbing chapters, Zumhagen-Yekplé shows how Kafka, Woolf, Joyce, and Coetzee set their readers on a path toward a new way of being. Offering a new perspective on Wittgenstein as philosophical modernist, and on the lives and afterlives of his indirect teaching, A Different Order of Difficulty is a compelling addition to studies in both literature and philosophy.

Wittgenstein is often regarded as the most important philosopher of the twentieth century, and in recent decades, his work has begun to play a prominent role in literary studies, particularly in debates over language, interpretation, and critical judgment. Wittgenstein and Literary Studies solidifies this critical movement, assembling recent critics and philosophers who understand Wittgenstein as a counterweight to longstanding tendencies in both literary studies and philosophical aesthetics. The essays here cover a wide range of topics. Why have contemporary writers been so drawn to Wittgenstein? What is a Wittgensteinian response to New Historicism, Post-Critique, and other major critical movements? How does Wittgenstein help us understand the nature of style, fiction, poetry, and the link between ethics and aesthetics? As the volume makes clear, Wittgenstein's work provides a rare bridge between professional philosophy and literary studies, offering us a way out of entrenched positions and their denials-what Wittgenstein himself called 'pictures' 'that held us captive.'

This original and insightful book establishes a reciprocal relationship between Ludwig Wittgenstein’s notion of ethics and the experience of war. It puts forth an interpretation of Wittgenstein’s early moral philosophy that relates it to the philosopher’s own war experience and applies Wittgenstein’s ethics of silence to analyze the ethical dimension of literary and artistic representations of the Great War. In a compelling book-length essay, the author contends that the emphasis on “unsayability” in Wittgenstein’s concept of ethics is a valuable tool for studying the ethical silences embedded in key cultural works reflecting on the Great War produced by Mary Borden, Ellen N. La Motte, Georges Duhamel, Leonhard Frank, Ernst Friedrich, and Joe Sacco. Exploring their works through the lens of Wittgenstein’s moral philosophy, this book pays particular attention to their suggestion of an ethics of war and peace by indirect means, such as prose poetry, spatial form, collage, symbolism, and expressionism. This cultural study reveals new connections between Wittgenstein’s philosophy, his experience during the First World War, and the cultural artifacts produced in its aftermath. By intertwining ethical reflection and textual analysis, Wittgenstein’s Ethics and Modern Warfare aspires to place Wittgenstein’s moral philosophy at the centre of discussions on war, literature, and the arts.

With a unique approach to the 'linguistic turn' in twentieth-century philosophy, this fascinating work addresses both analytic and continental philosophy, therefore ensuring its appeal to scholars from both fields.

In Certainty in Action, Danièle Moyal-Sharrock describes how her encounter with Wittgenstein overturned her previous assumptions that the mind is a product of brain activity and that thought, consciousness, the will, feelings, memories, knowledge and language are stored and processed in the brain, by the brain. She shows how Wittgenstein enables us to veer away from this brain-centred view of intelligence and behaviour to a person-centred view focusing on ways of acting that are both diversely embedded across forms of human life and universally embedded in a single human form of life. The book traces the radical importance of action as the cohesive thread weaving through Wittgenstein's philosophy, and shows how certainty intertwines with it to produce new ways of engaging in epistemology, the philosophy of mind and the philosophy of language. This selection of Moyal-Sharrock's essays vividly illustrates some of the ways in which Wittgenstein's pioneering enactivism has impacted – and can further impact – not only philosophy, but also neighbouring disciplines such as linguistics, psychology, primatology, evolutionary psychology and anthropology. Certainty in Action is essential reading for students and researchers of these disciplines, and for anyone interested in getting a grasp of Wittgenstein's lasting genius and influence.

Making extensive use of unique archival resources this collection presents, for the first time, an in-depth study of the work and influence of Wittgenstein's original literary heirs, Rush Rhees, Elizabeth Anscombe and Georg Henrik von Wright as editors of Wittgenstein's posthumous writings. Presenting philosophical portraits of Rhees, Anscombe and von Wright, a team of international contributors provide a history of their collaboration and discuss how the individual philosophical views of the literary heirs shaped what we now know as the works of Wittgenstein. They consider the link between philosophically relevant aspects of their biography, their friendship with Wittgenstein and the development of their philosophical personalities, offering us a new appreciation of the dynamics of their editorial collaboration and how each of the heirs worked individually as an editor to create Wittgenstein's philosophy. Each chapter reveals what the editors did to enrich and shape our understanding of Wittgenstein's philosophical contribution on topics such as rule-following, logical necessity, aesthetics and the methods and aims of philosophy. This thorough critical analysis of the editorial history of Wittgenstein's works allows us to finally appreciate the profound impact the editors have had on our understanding of his philosophy, his views and his cultural significance.