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On Wittgenstein's Kantian solution of the problem of philosophy

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In 1931 Wittgenstein wrote: ‘the limit of language manifests itself in the impossibility of describing the fact that corresponds to (is the translation of) a sentence without simply repeating the sentence’. Here, Wittgenstein claims, ‘we are involved … with the Kantian solution of the problem of philosophy’. This paper shows how this remark fits with Wittgenstein's early account of the substance of the world, his account of logic, and ultimately his view of philosophy. By contrast to the currently influential resolute reading of the Tractatus, the paper argues that the early Wittgenstein did not aim at destroying the idea of a limit of language, but that the notion lies at the very heart of Wittgenstein's early view. In doing so, the paper employs and defends the Kantian interpretation of Wittgenstein's early philosophy.

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... I have argued elsewhere that Wittgenstein's use of the term transcendental in relation to ethics-cum-aesthetics ought to be understood in the same sense as the transcendentality of the Tractarian logic (Appelqvist, 2013(Appelqvist, , 2016. ...
... For a defense of the Kantian interpretation, see, for example, Stenius (1960), Kannisto (1986), Glock (1992Glock ( , 1997Glock ( , 1999, Moore (1987Moore ( , 2013, and Nordmann (2005). See also Appelqvist (2012Appelqvist ( , 2013Appelqvist ( , 2016. ...
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This paper argues that there is an important continuity between Wittgenstein's early remarks on religion and his later treatment of the theme as it appears in his lectures in the 1930s and in his personal diary notes at that time. This continuity pertains to 3 features. First, the early and later Wittgenstein share a critical stance on methodological naturalism, that is, the view that the method of philosophy is relevantly similar to that of the natural sciences. Importantly, religion figures as one of Wittgenstein's examples of the limits of the factual language of natural sciences. Second, both the early and the later Wittgenstein connect religion to the problem of seeing one's life as meaningful while denying the possibility of establishing any objectively understood meaning of life. Third, both evoke the idea of different types of judgments, the conditions of which are independent of each other. Although religious faith is not grounded in factual knowledge and cannot be justified by appeal to empirical evidence or conceptual argumentation, it is not groundless either. Rather, in accordance with Kant who claims that faith may have a nontheoretical justification, Wittgenstein shows that religious faith may result from a personal experience of one's life as a meaningful whole.
... Logic as well as ethics and aesthetics (which Wittgenstein claims to be one) are concerned with the a priori conditions for the possibility of thought (in the case of logic) and evaluative judgments (in the case of ethics and aesthetics). By contrast to Plato, then, whose "essences" were "transcendent", objective ideas, independent of the subject, Wittgenstein's early view may be read (and has been read) as a variant of transcendental idealism with the important qualification that any doctrine of the transcendent is eliminated (see Moore, 2013;Appelqvist, 2013Appelqvist, , 2016. ...
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This article defends a formalist interpretation of Wittgenstein's later thought on music by comparing it with Eduard Hanslick's musical formalism. In doing so, it returns to a disagreement I have had with Bela Szabados who, in his book Wittgenstein as a Philosophical Tone-Poet, claims that the attribution of formalism obscures the role that music played in the development of Wittgenstein's thought. The paper scrutinizes the four arguments Szabados presents to defend his claim, pertaining to alleged differences between Wittgenstein and Hanslick on their accounts of theory, beauty, rules, and the broader significance of music. I will argue that in each case the similarities between Wittgenstein's and Hanslick's respective views outshine possible differences. Ultimately, I will argue that instead of rendering music a marginal phenomenon suited for mere entertainment, formalism-as presented by Hanslick and Wittgenstein, whom I read as influenced by Kant's aesthetics-underscores music's ability to show fundamental features of reality and our relation to it. Music does this precisely as a sensuous yet structured medium that is irreducible to any conceptually determined domain. Resumen: Este artículo defiende una interpretación formalista del pensamiento posterior de Wittgenstein so-bre la música comparándolo con el formalismo musical de Eduard Hanslick. Con ese fin, reconsidera un des-acuerdo que he tenido con Bela Szabados. Este, en su libro Wittgenstein as a Philosophical Tone-Poet, afirma que la atribución de formalismo oscurece el papel que la música desempeñó en el desarrollo del pensamiento de Wittgenstein. El artículo estudia en detalle los cuatro argumentos que Szabados presenta para defender su tesis, que conciernen a supuestas diferencias entre Wittgenstein y Hanslick sobre sus enfoques de la teoría, la belleza, las reglas y la importancia en general de la música. Argumentaré que en cada caso las semejanzas entre los puntos de vista de Wittgenstein y Hanslick eclipsan las posibles diferencias. En última instancia, argumen-taré que en lugar de presentar la música como un fenómeno marginal adecuado para el mero entretenimiento, el formalismo-tal y como es presentado por Hanslick y Wittgenstein, a quienes entiendo bajo la influencia de la estética de Kant-subraya la habilidad de la música para mostrar características fundamentales de la realidad y de nuestra relación con ella. La música es capaz de hacer esto precisamente al ser tratada como un medio sensual pero estructurado que es irreductible a cualquier campo determinado conceptualmente.
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Incluye bibliografía e índice
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Peter Winch's translation of Wittgenstein's remarks on culture and value presents all entries chronologically, with the German text alongside the English and a subject index for reference. "It was Wittgenstein's habit to record his thoughts in sequences of more or less closely related 'remarks' which he kept in notebooks throughout his life. The editor of this collection has gone through these notebooks in order to select those 'remarks' which deal with Wittgenstein's views abou the less technical issues in his philosophy. So here we have Wittgenstein's thoughts about religion, music, architecture, the nature of philosophy, the spirit of our times, genius, being Jewish, and so on. The work is a masterpiece by a mastermind."—Leonard Linsky
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This paper is concerned with the status of a symbol in Wittgenstein’s Tractatus. It is claimed in the first section that a Tractarian symbol, whilst essentially a syntactic entity to be distinguished from the mark or sound that is its sign, bears its semantic significance only inessentially. In the second and third sections I pursue this point of exegesis through the Tractarian discussions of nonsense and the context principle respectively. The final section of the paper places the forgoing work in a secondary context, addressing in particular a debate regarding the realism of the Tractatus.
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1. The Problem Let me start with a well-known story. Kant held that logic and concep- tual analysis alone cannot account for our knowledge of arithmetic: "however we might turn and twist our concepts, we could never, by the mere analysis of them, and without the aid of intuition, discover what is the sum (7+5)" (KrV, B16). Frege took himself to have shown that Kant was wrong about this. According to Frege's logicist thesis, every arithmetical concept can be defined in purely logical terms, and every theorem of arithmetic can be proved using only the basic laws of logic. Hence, Kant was wrong to think that our grasp of arithmetical concepts and our knowledge of arithmetical truth depend on an extralogical source—the pure intuition of time (Frege 1884, §89, §109). Arith- metic, properly understood, is just a part of logic. Never mind whether Frege was right about this. I want to address a different question: Does Frege's position on arithmetic really contra- dict Kant's? I do not deny that Frege endorsed (F) Arithmetic is reducible to logic
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