This article aims to defend the need to recognize the independent role of those cognitive abilities on whose behalf linguistic meaning is introduced from the proper institution of language. I call this capacity “private pattern recognition” (PPR) and argue that it plays an essential part not just in the instauration of linguistic meaning but also in other relevant cognitive phenomena such as artistic creation and understanding. Moreover, it is precisely the failure to separate both aspects that gives rise (...) to important perplexities associated with the underdetermination of meaning. The first part of the article makes a case for this thesis and addresses its compatibility with Wittgenstein's private language argument. It then focuses on the example of art to illustrate the differing roles of private pattern recognition and shared linguistic meaning. The second part of the article focuses on the paradox of resemblance (RP). It (i) considers the difficulties of Williamson's response, (ii) illustrates how they instead support the current thesis, (iii) attempts to delineate how the role of meaning should be understood, and (iv) briefly revisits the rule‐following paradox (RFP). (shrink)

This monograph presents Azzouni’s new approach to the rule-following paradox. His solution leaves intact an isolated individual’s capacity to follow rules, and it simultaneously avoids replacing the truth conditions for meaning-talk with mere assertability conditions for that talk. Kripke’s influential version of Wittgenstein’s rule-following paradox—and Wittgenstein’s views more generally—on the contrary, make rule-following practices and assertions about those practices subject to community norms without which they lose their cogency. Azzouni summarizes and develops Kripke’s original version of (...) Wittgenstein’s rule-following paradox to make salient the linchpin assumptions of the paradox. By doing so, Azzouni reveals how compelling Kripke’s earlier work on the paradox was. Objections raised over the years by Fodor, Forbes Ginsborg, Goldfarb, Tait, Wright, and many others, are all shown to fail. No straight solution can be made to work. Azzouni illustrates this in detail by showing that a popular family of straight solutions due to Lewis and refined by Williams, “reference magnetism,” fail as well. And yet an overlooked sceptical solution is still available in logical space. Azzouni describes a series of “disposition-meaning” private languages that he shows can be successfully used by a population of speakers to communicate with one another despite their ideolectical character. The same sorts of languages enable solitary “Robinson Crusoes” to survive and flourish in their island habitats. These languages—sufficiently refined—have the same properties normal human languages have; and this is the key to solving the rule-following paradox without sacrificing the individual’s authority over her self-imposed rules or her ability to follow those rules. Azzouni concludes this unusual monograph by uncovering a striking resemblance between the rule-following paradox and Hume’s problem of induction: he shows the rule-following paradox to be a corollary of Hume’s problem that arises when the problem of induction is applied to an individual’s own abilities to follow rules. (shrink)

Almost 25 years after Dees’ article on the meaning of social entrepreneurship, conceptual controversy persists. Based on a qualitative analysis of 209 definitions of social entrepreneurship and respective academic articles, we argue that the concept follows a family resemblance structure and identify the 12 distinct attributes that comprehensively define it. Membership in social entrepreneurship is not defined by a case possessing a universally accepted set of criterial features but by carrying shared attributes with other cases. The family (...) resemblance structure points to the persistent fallacy of using the same term to label different phenomena and cautions researchers against causal homogeneity assumptions among different conceptual subtypes. Assuming a descriptive stance, we shed light on how distinct ethical positions relate to different definitions of social entrepreneurship. Among the existing conceptual variety, we identify four prominent subtypes and find that ‘market-based’ conceptualizations relate to _economism_, the ‘social business’ subtype relates to _rule utilitarian_ positions, ‘efficiency-driven’ definitions are associated with _hedonistic act utilitarian_ views, and the ‘transformational impact’ subtype is akin to a _eudemonic act utilitarian_ stance. (shrink)

Peter Kivy has maintained that the Wittgensteinian account of ‘art’ ‘is not a going concern’ and that ‘the traditional task of defining the work of art is back in fashion, with a vengeance’. This is true, in large part, because of the turn towards relational definitions of ‘art’ taken by philosophers in the 1960s; a move that is widely believed to have countered the Wittgensteinian charge that ‘art’ is an open concept and which gave rise to a ‘New Wave’ in (...) aesthetic theorizing. So successful has this New Wave been that today the philosophy of art is awash with relational definitions, which are increasingly characterized by their technical sophistication and logical complexity. The aim of this essay is to oppose this trend; to demonstrate that relationalist definitions cannot avoid the problems which provided the impetus for the Wittgensteinian view and to show that the New Wavers cannot explain why anyone would want the definitions which they are offering, irrespective of their success or failure. I will also explore, in detail, the uses, as well as the limitations, of the Wittgensteinian approach to the concept of art. (shrink)

The project of neuroaesthetics could be interpreted as an attempt to identify a ?neural essence? of art, i.e., a set of necessary and sufficient conditions formulated in the language of neuroscience, which define the concept art . Some proposals developed within this field can be read in this way. I shall argue that such attempts do not succeed in individuating a neural definition of art. Of course, the fact that the proposals available for defining art in neural terms do not (...) work does not mean that such an enterprise is in principle doomed to failure. However, I maintain that there are good reasons to suspect that in general such a definition cannot be worked out. This does not mean, though, that the study of neural correlates in artwork production and fruition is a senseless project. Neuroaesthetics could succeed in individuating widespread mechanisms common to different forms of art coming from remote cultural contexts, which presumably rely on aspects of our mind and/or brain's functioning that are innate and biologically determined, thus contrasting the idea that artistic phenomena are entirely dependent on cultural factors. (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between (...) essentialism and its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

Wittgenstein's complex and demanding work challenges much that is taken for granted in philosophical thinking as well as in the theorizing of art, theology, science and culture. Each essay in this collection explores a key concept involved in Wittgenstein's thinking, relating it to his understanding of philosophy, and outlining the arguments and explaining the implications of each concept. Concepts covered include grammar, meaning and meaning-blindness language-games and private language, family resemblances, psychologism, rule-following, teaching and learning, avowals, (...) Moore's Paradox, aspect seeing, the meter-stick, and criteria. Students new to Wittgenstein and readers interested in developing their understanding of specific aspects of his philosophical work will find this book very welcome. (shrink)

I consider various principles which might explain our intuitive obligation to rescue people from imminent death at great cost, even when the same resources could produce more benefit elsewhere. Our obligation to rescue is commonly explained in terms of the identifiability of the rescuee, but I reject this account. Instead, I offer two considerations which may come into play. Firstly, I explain the seeming importance of identifiability in terms of an intuitive obligation to prioritise life-extending interventions for people who face (...) a high risk of an early death, and I explain this in turn with a fair innings-style principle which prioritises life-extending interventions for people expected to die young. However, this account is incomplete. It does not explain why we would devote the same resources to rescuing miners stuck down a mine even if they are elderly. We are averse to letting people die suddenly, or separated from friends and family. And so, secondly, I give a new account that explains this in terms of narrative considerations. We value life stories that follow certain patterns, classic patterns which are reflected in many popular myths and stories. We are particularly averse to depriving people of the opportunity to follow some such pattern as they approach death. This means allowing them to sort out their affairs, say goodbyes to family and friends, review their life, or come to terms with death itself. Such activities carry a lot of meaning as ways of closing our life story in the right way. So, for someone who has not been given much notice of their death, an extra month is worth much more than for other patients. Finally, I review the UK National Health Service's end of life premium, which gives priority to patients with short life expectancy. I suggest it falls short in terms of such considerations. For example, the NHS defines its timings in terms of how long the patient can expect to live as at the time of the treatment decision, whereas the timings should be specified in terms of time from diagnosis. (shrink)

_Wittgenstein and the Practice of Philosophy_ introduces Wittgenstein’s philosophy to senior undergraduates and graduate students. Its pedagogical premise is that the best way to understand Wittgenstein’s thought is to take seriously his methodological remarks. Its interpretive premise is that those methodological remarks are the natural result of Wittgenstein’s rejection of his early view of the ground of value, including semantic value or meaning, as something that must lie “outside the world.” This metaphysical view of meaning is replaced in (...) his transitional writings with a kind of conventionalism, according to which meaning is made possible by the existence of grammatical conventions that are implicit in our linguistic practices. The implicit nature of these conventions makes us vulnerable to a special kind of confusion that results from lacking a clear view of the norms that underlie our linguistic practices. This special confusion is characteristic of philosophical problems, and the task of philosophy is the therapeutic one of alleviating confusion by helping us to see our grammatical norms clearly. This development of this therapeutic view of philosophy is traced from Wittgenstein’s early _Tractatus Logico-Philosophicus_ through his transitional writings and lectures to his great masterwork, _Philosophical Investigations_, and his final reflections on knowledge and scepticism in _On Certainty_. Wittgenstein’s discussions of naming, family resemblances, rule-following and private language in _Philosophical Investigations_ are all examined as instances of this sort of method, as is his discussion of knowledge in _On Certainty_. The book concludes by considering some objections to the viability of Wittgenstein’s method and speculating on how it might be extended to a discussion of moral value to which Wittgenstein never explicitly returns. (shrink)

This thesis is an interrogation of the viability of transitive production, which I associate with the Aristotelian term hylomorphic. The central axiom of hylomorphic production that will be targeted for critique is that the agent of production must be distinguished absolutely from the product. The thesis follows the thought of production primarily-but not exclusively-in its characteristically modem instantiation in the Kantian transcendental. The argument seeks to demonstrate that the productive aspect of the operator of transitive production is incompatible with the (...) transcendental element, and that Kant was himself increasingly aware of this problem. The Third Critique, under the rubric of an aesthetics, it will be argued, manifests this awareness in its problematic of a manifold of empirical laws. That this constitutes a difficulty for transcendent idealism means that the transcendental operators of the First Critique have failed to constitute experience in a relevant and important way. Furthermore, it is possible to see in some of the famous slogans of the Third Critique, an indication of another mode of production which is immune to the difficulties of the axiom of transitive production. In conclusion I suggest that the consequences of this new mode of intransitive production, associated with materiality, is destructive of the thought of the axiomatic otherworldliness of production operators. Production is not operated at all. Some suggestions are then made as to the explanation of the error embodied in the axiom of transitivity. (shrink)

The rule-following debate, in its concern with the metaphysics and epistemology of linguistic meaning and mental content, goes to the heart of the most fundamental questions of contemporary philosophy of mind and language. This volume gathers together the most important contributions to the topic, including papers by Simon Blackburn, Paul Boghossian, Graeme Forbes, Warren Goldfarb, Paul Horwich, John McDowell, Colin McGinn, Ruth Millikan, Philip Pettit, George Wilson, and José Zalabardo. This debate has centred on Saul Kripke's reading of (...) the rule-following sections in Wittgenstein and his consequent posing of a "sceptical paradox" that threatens our every day notions of linguistic meaning and mental content. These essays are attempts to respond to this challenge and represent some of the most important work in contemporary theory of meaning. They examine the notion of meaning; whether it is possible to find a suitable meaning-constituting fact from our previous behaviour or mental histories; objections to, and defenses of, dispositional accounts of meaning; the plausibility of non-factualism about meaning; our attempts to develop non-reductionist accounts of meaning; and the sources of the normativity which attaches to meaning, such as the linguistic practice of the community or the dispositions of the individual. With an introductory essay and a comprehensive guide to further reading the book is an excellent resource for courses in philosophy of mind, philosophy of language, Wittgenstein, and metaphysics, as well as for all philosophers, linguists, and cognitive scientists with interests in these areas. Contributors include Simon Blackburn, Paul Boghossian, Graeme Forbes, Warren Goldfarb, Paul Horwich, John McDowell, Colin McGinn, Alexander Miller, Ruth Garrett Millikan, Philip Pettit, George. M. Wilson, Crispin Wright, and José L. Zalabardo. (shrink)

Art therapy encourages the use of art materials to express feelings and thoughts in a supportive environment. Art materials differ in fluidity and are postulated to thus differentially enhance emotional response (the more fluid the material the more emotion). Yet, to the best of our knowledge, this assumption has not been empirically tested. The current study aimed to examine the emotional and physiological responses to art making with different art materials. We were particularly interested in vagal activity, indexed by heart (...) rate variability (HRV), because of its association with numerous health related outcomes. In this study, fifty adults (mean age 33 ± 10.27 years, 52% males) participated in a repeated measures experiment, in which they were requested to draw with three art materials (order randomized) differing in their level of fluidity (pencil, oil-pastels and gouache paint) intermittent with periods of music. We measured the emotional response to art making with each material using a self-report measure and matrices of HRV using a wearable electrocardiogram (ECG) device. We calculated two indices of HRV, one indicative of parasympathetic nervous system (PNS) activity, and one indicative of sympathetic nervous system (SNS) activity. Art making with gouache paint and oil pastels resulted in improved positive mood, while pencil did not. Art making explained approximately 35% of the variability in parasympathetic reactivity, which may indicate changes in emotional regulation processes during the art-making task. Yet, fluidity was not sufficient to explain the reaction to art-making. Surprisingly, the largest suppression of PNS and augmentation of the SNS occurred during art-making with oil-pastels and not with Gouache. Moreover, PNS and SNS reactivity to oil-pastels were related to emotional valance, which may point to emotional engagement. We can conclude that art-making with oil-pastels, first created in Japan in 1924 to increase self-expression of students, results in a unique emotional and physiological responses. These findings might be explained by the enhanced tactile experience of art-making with oil-pastels along with their relative fluidity, triggering an arousal pattern. Further studies that take the format and presentation of the materials as well as the content of the artwork, into account, are needed. (shrink)

This chapter contains sections titled: Games Form a Family What Is Common to All These Leaves? Expressions Constructed on Analogical Patterns The Human Form of Life Clusters and Families A Case for Methodological Pluralism.

Now that we have looked at the characteristics of mystical experience, we are ready to discuss the assumption made in this paper that mystical experience can be translated into an understanding of “integration” or the drive for meaning which Fingarette pursues in a much more analytic fashion. Reviewing the conversion process as an “integration” process we have seen that for the sick-souled, beset with the meaninglessness or melancholy which paralyzes his will, his own awareness of wrong in his situation (...) prevents him from opening up to larger views of reality. But, as James has described, at the same time as the subject is attending so strongly to his own sense of worthlessness, “all the while the forces of mere organic ripening within him are going on towards their own prefigured result, and his conscious strainings are letting loose subconscious allies behind the scenes, which in their way work toward rearrangements.” Yet the “rearrangements” can only come about by obeying the command of Chaung-Tse: “Cease striving.” The result is self-transformation in “reconciling, unifying states.” There is achieved “a supersensuous meaning to the ordinary outward data of consciousness; facts already objectively before us fall into a new expressiveness and make a new connection with our active life.”However, James cautions us to realize that the same incursions of the subconscious which produce such “reconciling, unifying states” can also produce pathological states, “a diabolical mysticism, a sort of religious mysticism turned upside down.” In such a state the “meanings” of events become dreadful and the ruling emotion is pessimism. To this possibility James applied the pragmatic test, “By their fruits...,” and concluded that the mystical experience which brings optimism to the individual is a genuine experience and one which brings truth. In our context then, we would say that real “integration” brings the subject away from the “melancholy” and meaninglessness he felt into the “genuinely insightful resolution” of which Fingarette speaks.Conversion, then, is a process in James's analysis of religious experience analogous to the process of integration and meaning-discovery while mysticism is analogous to the state in which integration or meaning-discovery is achieved. Conversion is climaxed by self-surrender; mysticism is characterized by new determination, self-transformation: two ways of describing an indivisible event. Furthermore, the four characteristics James applies to mysticism are indeed characteristic of the experience of integration.Two other points should be added here which are much in line with James's treatment of experience. In the first place, one of the basic principles of radical empiricism is that not only objects but relations between objects are the subject of experience. Such an experience of relationships, of wholeness, is exactly what characterizes integration. At the same time, the five senses are suspended, and the “insight” is experienced with such a strong immediacy that it is almost sensed. James refers to this quality of mystical states: The records show that even though the five senses be in abeyance in them, they are absolutely sensational in their epistemological quality, if I may be pardoned the barbarous expression, - that is, they are face to face presentations of what seems immediately to exist.I am not saying that every integration is a mystical experience. Rather I have been saying that James's discussion of religious experiences such as healthy-minded, sick-souled, melancholy, conversion, and mysticism provide analogues for better understanding the phenomenological processes and characteristics of the drive for meaning and integration which Fingarette analyzes. In fact, the very notion of religion itself for James bears not just an analogous resemblance but perhaps an identification with integration. For in his personal letters James had defined religious experience as “Any moment of life that brings the reality of spiritual things more ‘home’ to one.” And in Varieties James defines religion as “a man's total reaction upon life....; his attitude towards what he felt to be the primal truth.”If we look upon this outlook of James toward religion as an “exaggeration” of the reality of integration, we can follow James to what he perceives as the importance of religion upon an individual's life. The man of religious feeling possesses “the excitement of a higher kind of emotion,” an “enthusiastic temper of espousal in regions where morality strictly so called can at best but bow its head and acquiesce.” So we are brought again to the area of creativity in which an individual has experienced the widening of the area of his immediate experience and is “re-born” in the karmic pattern, a valid pattern for both James and Fingarette. As Fingarette describes it, the “converted” individual “creates” values which the dead reality he had previously faced did not possess. The result of the achieved integration is explained by James when referring to religious experience as “an excitement of the cheerful, expansive, ‘dynamogenic’ order which, like any tonic, freshens our vital powers.” This emotion “overcomes temperamental melancholy [meaninglessness] and imparts endurances to the subject, or a zest, or a meaning, or an enchantment and glory to the common objects of life.”We might sum up this discussion not by a criticism of the shortcomings of James's treatment of the religious life, such as his apparent insensitivity to the part played by institutions in the religious experience itself, but rather by underscoring the richness of the phenomenological analysis James has undertaken. James Edie acknowledges that James's studies of religious experience itself rather than of religion. ... are not only more sound phenomenologically than some of the studies which have, under the influence of Husserl, up to now explicitly invoked the phenomenological method, but they are also the first to establish any solid basis for a true phenomenology of religious experience.And John Wild has pointed out the parallel between James's concept of melancholy and Heidegger's concept of anxiety as the genesis of the process of becoming: beginning with the prospect of death and nothingness, the individual gropes toward new birth.As we have seen, then, James's analysis of the varieties of religious experience leads to a fruitful discussion of the psychological processes involved in melancholy and meaninglessness, rearrangement and integration. In all such experiences, a sense of inner unity is reached to which the following words of Fingarette would apply by analogy: The soul-racking death which leads to blissful “rebirth” is the death of the subjectively experienced, anxiety-generated “self” perception; it is the emergence into the freedom of introspective “self-forgetfulness” of the psychically unified self. (shrink)

In the article various means that are used for creating the image of Elizabeth II are studied. The choice of the subject matter for the analysis is determined by the interest to the British royal family. The author considers various definitions of the concept ‘image‘ and analyzes its characteristic features. It is noted that image can be positive and negative, controlled and uncontrolled, desired and actual. The image helps to show particular traits of a personality. It is based on (...) the person’s appearance, his or her manners, hobbies, interests, speech peculiarities. It is known that such factors as family environment, sports, pets and hobbies play a great role in the creation of the image. There are the following aspects of the image: professional, social and portrait. Special attention is paid to verbal and non-verbal means of creating an image. The main lexical, phonetic and stylistic characteristic features of the monarch’s Christmas Broadcasts have been singled out. A positive image of the monarch is created with the help of verbal and nonverbal means. The Queen’s public addresses and Christmas broadcasts may serve as an example of verbal means used for image creation. Patriotism, sense of duty, loyalty to traditions, adherence to the rules of Royal etiquette is evident in the communicative behavior of the Queen. It is noted that public addresses play a certain role in the creation of a positive image of the English Queen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

This chapter concentrates on two discussions, both of which enlist Wittgenstein's rule‐following considerations in support of radical and highly revisionary conclusions about the objectivity of meaning ‐ conclusions which may appear to entail, and have been taken to entail, consequences for the objectivity of truth and judgment which are no less radical and revisionary. There is widespread agreement that Wittgenstein advances, in the rule‐following sections of Philosophical Investigations and Remarks on the Foundations of Mathematics, considerations that are (...) quite destructive of certain conceptions of meaning, understanding, and rule‐following into which one may easily slide when attempts a general philosophical account of them. Saul Kripke interprets central sections of Philosophical Investigations as developing a 'skeptical paradox' about meaning. Kripke himself describes the skeptical conclusion as 'insane and intolerable'. (shrink)

I argue that close examination of Wittgenstein’s remarks on family resemblances shows that he is proposing a theory about the development of language over time. According to this theory, a concept is enlarged to a newly discovered object when it is similar to other objects falling under this concept. However, being empirical, theories of language-development cannot be regarded as philosophical positions. I therefore argue that Wittgenstein puts forward this theory only for therapeutical reasons. He thereby wants to bring the (...) metaphysical question “Why do we call all games ‘games’?” back to its everyday use. (shrink)

I argue that close examination of Wittgenstein’s remarks on family resemblances shows that he is proposing a theory about the development of language over time. According to this theory, a concept is enlarged to a newly discovered object when it is similar to other objects falling under this concept. However, being empirical, theories of language-development cannot be regarded as philosophical positions. I therefore argue that Wittgenstein puts forward this theory only for therapeutical reasons. He thereby wants to bring the (...) metaphysical question “Why do we call all games ‘games’?” back to its everyday use. (shrink)

This paper explores the prospects for using the notion of a primitive normative attitude in responding to the sceptical argument about meaning developed in chapter 2 of Saul Kripke’s Wittgenstein on Rules and Private Language. It takes as its stalking-horse the response to Kripke’s Wittgenstein developed in a recent series of important works by Hannah Ginsborg. The paper concludes that Ginsborg’s attempted solution fails for a number of reasons: it depends on an inadequate response to Kripke’s Wittgenstein’s ‘finitude’ objection (...) to reductive dispositionalism; it erroneously rejects the idea that a speaker’s understanding of an expression guides her use; it threatens to collapse into either full-blown non-reductionism or reductive dispositionalism; and there is no motive for accepting it over forms of non-reductionism such as those developed by Barry Stroud and John McDowell. (shrink)

The project of this chapter is to explore some relations between the rule-following considerations and radical interpretation. I spell out the sense in which the rule-following considerations are about meaning determination, and investigate whether the principle of meaning determination used in the early Davidson's account of meaning determination - the principle of charity - provides an answer to what I shall call "Wittgenstein's paradox". More precisely, I am interested in one aspect of the paradox: the (...) "problem of objectivity". My question then is whether meaning, as determined by charity, is such that the correctness of the applications of meaningful expressions is an objective matter. After running us through the basics of the radical interpretation account of meaning determination I argue that the principle of charity does seem to fall prey to the problem of objectivity. After unsuccessfully trying to rescue objectivity by means of Lewisian natural properties, this is the verdict I in the end endorse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thou Art Translated! The Pull of Flesh and MeaningKarmen MacKendrickIn A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a (...) play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118).Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom.We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities.In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon... (shrink)

RESUMEN La regla de oro es una de las máximas morales más conocidas a nivel mundial, tanto en su versión negativa -no hagas a los otros lo que no te gustaría que te hicieran a ti-, como positiva -trata a los demás como te gustaría que te trataran a ti-. Aunque pueda entenderse fundamentalmente como una regla de empatía, también tiene un claro aire de familia con otras reglas de equidad y coherencia moral que impulsan una prueba de inversión de (...) roles. El artículo repasa la rica historia transcultural de esta regla, analiza las diferentes interpretaciones posibles y profundiza en las dificultades de aplicación. ABSTRACT The golden rule is one of the best-known moral maxims worldwide, both in its negative version -Don't do to others what you wouldn't like to be done to you-, as well as positive -Treat others as you would like to be treated-. Although it can be understood primarily as a rule of empathy, it also has a clear family resemblance with other rules of fairness and moral coherence that drive a role reversal test. The article reviews its rich cross-cultural history, analyzes the different interpretations and investigates the difficulties of implementation. (shrink)

ABSTRACTThis paper discusses Claudine Verheggen's account of what she takes to be Donald Davidson's response to the sceptical paradox about rule-following and meaning developed in Saul Kripke's interpretation of Wittgenstein's ‘rule-following considerations.’ It focusses on questions about the normativity of meaning, the social character of meaning, and the role of triangulation in Davidson's account of the determination of meaning, and invites Verheggen to compare the non-reductionism she finds in Davidson with that developed in Crispin (...) Wright's judgement-dependent account of meaning.RÉSUMÉCet article examine ce que Claudine Verheggen considère comme étant la réponse de Donald Davidson au paradoxe sceptique développé dans l'interprétation qu'offre Saul Kripke des remarques de Wittgenstein sur la possibilité de suivre une règle. Je me concentre en particulier sur des questions concernant la normativité de la signification, le caractère social de la signification et le rôle que la notion de triangulation joue dans la position de Davidson sur la détermination de la signification. J'invite aussi Verheggen à comparer le non-réductionnisme davidsonien avec celui défendu par Crispin Wright dans sa conception de la signification en tant que dépendante du jugement. (shrink)

However, if Wittgenstein’s so called rule-following considerations are correct, then this reason for believing in the validity of (C), is mistaken. The conclusion of those considerations is that we must reject the idea that rules are things which determine possible cases of application before those cases are actually encountered and decided by speakers. If this is right, then there is no rule which determines the meanings of new sentences, i.e. before those sentences have actually been used. Therefore, it (...) might seem that (C) is not valid for natural languages. (shrink)

The project of this chapter is to explore some relations between the rule-following considerations and radical interpretation. I spell out the sense in which the rule-following considerations are about meaning determination, and investigate whether the principle of meaning determination used in the early Davidson's account of meaning determination - the principle of charity - provides an answer to what I shall call "Wittgenstein's paradox". More precisely, I am interested in one aspect of the paradox: the (...) "problem of objectivity". My question then is whether meaning, as determined by charity, is such that the correctness of the applications of meaningful expressions is an objective matter. After running us through the basics of the radical interpretation account of meaning determination I argue that the principle of charity does seem to fall prey to the problem of objectivity. After unsuccessfully trying to rescue objectivity by means of Lewisian natural properties, this is the verdict I in the end endorse. (shrink)

In this work I bring a conception of language and meaning as a shared institution to bear upon rule-following scepticism, i.e., upon the sceptical problem concerning the semantic determinacy of expressions involving infinite or indefinitely large and open extensions. Such scepticism proceeds from the observation that the extensions of expressions of this kind are not uniquely determined by epistemically accessible facts, to conclude that the expressions in question are indeterminate in point of extension, and that their meaning (...) must consist in their use. ;In the first chapter of this work, I argue that rule-following considerations by themselves do not suffice to establish these conclusions, and that additional premises are needed. I consider both internalist and extensionalist schemes to supplement the sceptical argument. I find such schemes lacking in persuasive support. Chapter 2, in particular, concentrates on Kripke's well known exegesis of Wittgenstein's argument, and on the internalist requirements upon which it is based. ;In Chapter 3, I offer an externalist account of the normative aspect in rule following. On the account I give, the rule one is projecting is determined extensionally by one's position in a community in which his projections would be corrected and evaluated by other members, and from which one has acquired the rule in the first place through a chain of communication, rather than by one's own projections, taken in isolation, which constitute only a partial understanding of the rule in question. This account is not designed to refute scepticism; rather its aim is to account for the normativity of rule-following in ways which do not invoke the internalist requirement upon which rule following scepticism is based. (shrink)

Kaufman describes the current debate on the possibility of a definition of art between the theorists and the anti-theorist Wittgensteinians. The Wittgensteinian reliance on ‘family resemblances’ is a serious objection to theoretical definitions. Wittgenstein, however, is said to be unable to give a proper account of the ‘inner experience’ encountered in art. By way of response, it is urged that attention to Wittgenstein himself will show that there are misunderstandings of the idea of family resemblances and that Wittgenstein's (...) writings provide all we need to understand the depth of ‘inner experience’. (shrink)

How do the pictures Wittgenstein and his relatives took during his life relate to his philosophical work? The exhibition at the Leopold Museum in Vienna in 2021 demonstrated a complex network of resemblances, overlaps, and cross-references between Wittgenstein’s way of working and the pictures he collected. In this essay, the network is used as an example to argue that a combination of philosophy and artistic sensibility might be a fruitful enrichment for a philosophical practise.

Two readings of Wittgenstein's rule-following paradox dominate the literature: either his arguments lead to skepticism, and thus to the view that only a deflated account of meaning is available, or they lead to quietism, and thus to the view that no philosophical account of meaning is called for. I argue, against both these positions, that a proper diagnosis of the paradox points the way towards a constructive, non-sceptical account of meaning.

We will investigate patterns of resemblance of order 2 over a family of arithmetic structures on the ordinals. In particular, we will show that they determine a computable well ordering under appropriate assumptions.

‘Rule-following’ is a name for a cluster of phenomena where we seem both guided and “normatively” constrained by something general in performing particular actions. Understanding the phenomenon is important because of its connection to meaning, representation, and content. This article gives an overview of the philosophical discussion of rule-following with emphasis on Kripke’s skeptical paradox and recent work on possible solutions. Part I of this two-part contribution is devoted to the basic issues from Wittgenstein to Kripke. Part (...) II will be about recent answers to the skeptical paradox and Boghossian’s and Wright’s new puzzles. (shrink)

If Plato were here today, he would argue that our knowledge of Superman is based on the unchanging and eternal Superman found in the world of being. Philosophers struggled with Plato’s theory of essences for over 2000 years. No one really challenged the idea itself until Ludwig Wittgenstein changed the rules of the game in his enormously influential Philosophical Investigations, published after his death in 1953. Wittgenstein suggests that at least sometimes it does not make sense to look for a (...) thing’s essence. The different versions of Superman share a family resemblance much like games do. Rather than trying to identify the one true essence of Superman, one can simply say that a candidate for being Superman must have enough of the typical Superman characteristics, though not necessarily all of them or any one in particular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place (...) from another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

According to a venerable tradition in philosophy and linguistics, expressions have meaning through being subject to conventions or rules. This claim has become a central topic of contemporary philosophy of language and mind in the wake of Wittgenstein and Kripke, largely because the normativity of meaning is regarded as a serious challenge to naturalism. One reaction to this challenge is to deny that the normativity of meaning is genuine. While there are ‘semantic principles’ specifying conditions for the (...) correct application of expressions, these are either not genuinely normative or they are not in fact constitutive of meaning. But this dilemma can be defused if one distinguishes different dimensions of semantic normativity and pays attention to different types of mistakes that can afflict linguistic behavior. In particular, one needs to keep apart norms of truth and norms of meaning, regulative, and constitutive rules, and to appreciate the normative dimensions of the notion of correctness. The final section discusses the role of communally shared rules or conventions for language, in particular the age-old problem of circularity: how could such conventions be essential to language, given that the latter appears prerequisite for establishing and communicating conventions in the first place. (shrink)

Even though there is an ineluctable abyss between Analytic and Continental Philosophy, it is not hard to argue that in his later works Ludwig Wittgenstein draws a closer philosophical attitude to the latter in terms of that the notions developed by him, such as language-games, family resemblances, meaning-in-use or rule-following, apart from his earlier nomological approach to language, leave room for various understandings and uncertainty in language. In the present work, my primary task is to concentrate on (...) the close relationship between the Wittgenstein’s notion of family resemblances and Gadamer’s idea of the fusion of horizons. But both philosophers, coincide in criticizing the authority of the Cartesian subject and private language and in allowing different understandings and uncertainty in language. Starting from this point of view, the linguistic turn, I will turn my remarks on the question how we learn color concepts since the structure of these concepts radically differs from the words that are able to subject to ostensive definitions. This last section will also offer a hermeneutical reading of Wittgenstein’s notion of family resemblances. (shrink)

This is a short, and therefore necessarily very incomplete discussion of one of the great questions of modern philosophy. I return to a station at which an interpretative train of thought of mine came to a halt in a paper written almost 20 years ago, about Wittgenstein and Chomsky,[1] hoping to advance a little bit further down the track. The rule-following passages in the Investigations and Remarks on the Foundations of Mathematics in fact raise a number of distinct issues (...) about rules, meaning, objectivity, and reasons, whose conflation is encouraged by the standard caption, "the Rule-following Considerations".[2] So, let me begin by explaining my focus here. (shrink)

I. Language is a witness of change in the field of the knowledge. In its system of signs, also the “traces” that show “the movement of the signs” are conserved, meaning those dynamic signs that indicate problems and solutions of problems, and sometimes even the invention of new problems, which modify the paradigms of knowledge. In the case of the creativity problem, if we take language as the witness, we see the following: 1. In the first half of the (...) 20 th century, the term used to denote the innovatory phenomena is that of creation. This notion refers, most often, to the artistic works, but is step by step extended also to denote the great scientific discoveries or technical inventions and, more seldom, other types of activities which bear the mark of novelty or originality, generally with an “out of the ordinary character” . The word has an obvious value content and exactly by its evaluative significance, it is disseminated in the current cultural vocabulary. It can have more general meanings, due to the fact that it keeps, in its semantic memory, the archaic layers of the myths of creation, but also because it can be resignified metaphysically, as a cosmogony principle or one of the evolution of life . But its established place in the philosophical discourse is found mostly in the area of the philosophy of culture or in that of the philosophy of value and especially in the philosophy of art. From here, it is overtaken by the art sciences, as the psychology of art, the history of art or the sociology of art. The term creation means both the works, the products of the creation process, and the processes through which these works are accomplished. In the analysis of the creation process, the significance of the term become more psychological, and the rationalization to which it is subjected to seems to furthen it both from its religious origin as well as from the Romantic mythology of the genius. However, if we regard more attentively, we see that terms as “inspiration”, “incubation” or “invention”, from the so called explanations of the creation process, preserve the magic obscurity of the enigma. Generally, the idea of creation, even totally transferred to the human sphere, secularized, rationalized and psychologized, still keeps something from the history of a notion charged with “mystery”, “heroic admiration” and a sort of “sacred terror”, which can be understood by considering the religious origin of the idea of creation; because about creation, in the human sphere, it has been commenced to be talked at first by analogy to the divine creation, in the discourse about art of the Renaissance, and the semantic evolution of the notion has not, for a long time, furthen itself from it spiritual root. Creation – even when it denotes the human products- still remains a metaphor- which transports to something difficult to comprehend, rather than facilitates the understanding of what it denotes. 2. After the middle of the 20 th century, a new term, creativity, makes its way in the discourse, replacing the word creation. It comes from the vocabulary of the humanistic sciences, firstly from psychology and afterward by the other sciences which adopted it. It becomes, in a short period, a frequent term of the cultural world and of public communication. The discourse in which this neologism appears has completely changed suppositions: a). Firstly, it is a discourse of scientific nature ; b). Secondly, its notions are descriptive: creativity denotes the capacity to produce innovative works in any domain and is seen as a generally human dimension ; the creative products are described following criteria such as novelty, originality, relevance, adequacy or utility, attributes that are intelligible but also rationally computable. c). Thirdly, the suppositions of the discourse on creativity contains the idea that the creative phenomena can be understood rationally, described, analyzed, explained and measured, and their knowledge can be applied in the so called techniques to stimulate creativity or transferred in the methods of learning and education. The notion of creativity indicates thus a discourse articulated on a type of representations which we could call positive, to mark this way the change in knowledge on which they are based. 3. In the last decades of the 20 th century, in the vocabulary of the sciences on creativity appears a new notion: creatology . According to the significance that results from the terms which compose this linguistic invention, creatology can denote, in a general sense, the study or the theory of creation or creativity, accomplished in a discipline or other from the sciences which assumed it as a research problem. Still, the discussions on creatology have requested more - the constituting of an autonomous discipline of creativity. These three notions – creation, creativity and creatology - have an obvious “family resemblance”, although, as we have seen, the semantic differences are significant. Through these notions we can reconstruct not only the history of a problem which appeared as important to the knowledge of the 20 th century, but perhaps even the history of some ideas which have accompanied the understanding of the cultural history or, wider, the history of the mentalities of the 20 th century. It is exactly why the emergence of creatology can be researched from the perspective of cultural analysis. 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