By G.L. Hagberg
"[Art as Language] is in itself tremendous useful for instance of the nonetheless principally unappreciated relevance of Wittgenstein's paintings to conventional philosophical concerns. . . . This ebook, as a roughly encyclopedic critique of aesthetic theories from a Wittgensteinian point of view, might be enlightening to aesthetic theorists who need to know, now not what Wittgenstein acknowledged approximately artwork, yet what the relevance of his paintings is to their use of language as some extent of reference for reading art."―Choice"In a sequence of acute arguments, Hagberg dismantles the quarter of grand aesthetic thought that defines paintings within the phrases philosophy has generally used to outline language. . . . Written with excellence in argumentation, judiciousness, and a capacious wisdom of Wittgenstein."―Daniel Herwitz, universal Knowledge"A transparent and clever booklet. Hagberg's procedure is to teach the results of conserving a Wittgensteinian view of language and brain for classy theories that are both in response to, or analogous to, different non-Wittgensteinian positions approximately language and brain. this is often a tremendous project."―Stanley Bates, Middlebury university
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Additional info for Art As Language: Wittgenstein, Meaning, and Aesthetic Theory
Jude as a character is and is not central to the sentence, as he and the horse share the position of grammatical subjects, and too many other contexts are invoked, mostly oblivious to him and his concerns, for Jude to have stable centrality. Past authors and their ideas, past students who held this textbook, the horse doing the actual work of the moment, Dido and her suffering, and the occasional complaint of a customer, are all entwined in this record. ” A somewhat generalized old woman gets the last word.
Are these things just what it takes to tell a good story, or do the deep ambivalence and opacity of Sophie-inAmerica call for a more engaged interpretation? Only later do we learn, with Stingo, the horrid details of her background, among them that particular scene of choice. What should we make of the revelations? And all this is framed by one of the most written about atrocities of the bloody twentieth century. What should we make of that historical framework? We may ask if Sophie falls toward her death by the weight of her guilt or whether she perhaps is pulled along by Nathan’s destructive side.
Taking that as a sample of what engaging with characters as representations can involve, I want to consider how this shows readers bringing together “internal” and “external” perspectives on characters. It is common to distinguish internal and external perspectives taken on ﬁction, with ﬁctional characters being perhaps the most prominent objects of this perspectival treatment. In Amie Thomasson’s terms, we can distinguish ‘ﬁctional contexts’ of discussion about what is true from within the context of a work .
Art As Language: Wittgenstein, Meaning, and Aesthetic Theory by G.L. Hagberg