In Praise of Description

2012 ◽  
Vol 25 (3) ◽  
pp. 609-625 ◽  
Author(s):  
ANNE ORFORD

AbstractIn hisPhilosophical Investigations, Ludwig Wittgenstein declared: ‘We must do away with all explanation, and description alone must take its place.’ Michel Foucault in turn repeatedly referred to his method of study as description, arguing that the role of philosophy is not to reveal what is hidden, but rather to make us see what is seen. This essay suggests why the turn to description as a mode of legal writing might be a productive move at this time.

2014 ◽  
Vol 41 (1) ◽  
pp. 79-108 ◽  
Author(s):  
Béatrice Godart-Wendling

Résumé Le but de cet article est d’évaluer l’hypothèse de John Rupert Firth (1890–1960) énonçant que l’article de l’anthropologue Bronislaw Malinowski (1884–1942), “The Problem of Meaning in Primitive Languages” (1923), constituerait une des sources d’inspiration ayant conduit Ludwig Wittgenstein (1889–1951) à élaborer une nouvelle conception de la signification en termes d’‘usage’. S’appuyant sur certains passages des Philosophical Investigations (1953), Firth établit ainsi une filiation entre les deux grandes idées phares de Malinowski, à savoir l’importance de la notion de ‘contexte de situation’ et l’idée que le langage serait un ‘mode d’action’ et les principales thèses (la signification comme usage, l’acquisition du langage, le langage comme un ensemble de jeux) que développera Wittgenstein. L’examen du bien fondé de cette hypothèse conduira à préciser la synergie des idées qui eut lieu en matière de pragmatique dans l’Angleterre de la première moitié du XXe siècle.


2021 ◽  
Vol 26 (1) ◽  
pp. 211-237
Author(s):  
Ana Maria Isar dos Santos Gomes ◽  
Giovani Clark

O artigo analisa o discurso de austeridade fiscal, apresentado pelo neoliberalismo como única solução para superação da crise econômica global de 2008, apesar de sua fragilidade do ponto de vista científico e do enorme sacrifício que representa para as classes sociais menos favorecidas.  A pesquisa, de caráter bibliográfico e documental, utiliza como referenciais teóricos o conceito de narrativa proposto por Jean-François Lyotard e sua análise da teoria dos jogos, elaborada por Ludwig Wittgenstein. Com base nos trabalhos de Michel Foucault e Zigmunt Bauman, demonstra-se que o neoliberalismo de austeridade é uma das narrativas da pós-modernidade cujo critério de legitimação é a melhoria da performance do modelo capitalista. Tal narrativa vem se impondo sobre as demais por meio da eliminação do dissenso e da manipulação do medo existencial. Ao preponderar sobre as demais narrativas, o neoliberalismo de austeridade elimina as diferenças e torna as instituições homogêneas, em um movimento que contrapõe o princípio da eficiência ao princípio democrático. Conclui-se que a alternativa para proteger a democracia, neste momento, é o questionamento das regras do jogo pelos próprios participantes, de forma a se substituírem os lances inovativos – que melhoram a performance do sistema – por lances perturbadores, capazes de promover o dissenso e, assim, alterar as regras do jogo. Esses últimos lances dependem da afirmação de uma multiplicidade de pequenas narrativas, fundadas em códigos particulares que legitimam os jogos de linguagem nas mais diversas áreas do saber.


Author(s):  
Teresa Obolevitch

Chapter 3 is dedicated to the so-called academic philosophy which was a unique Russian phenomenon. Russian theological academies were the place of the development of philosophical investigations, including those connected with the question of the role of science for theology. The proponents of this way of philosophizing elaborated the interesting project of the so-called scientific and natural apologetics which enabled them to protect religion from atheist attacks. Academy professors interpreted particular scientific theories in the spirit of the reconciliation between faith and reason, which they broadcast, although that position often existed at the expense of not abiding by the competence of science and subordinating its facts to the unbending dogmas of Christianity.


Philosophy ◽  
2014 ◽  
Vol 89 (2) ◽  
pp. 251-272 ◽  
Author(s):  
Dale Jacquette

AbstractThe object of this essay is to discuss Ludwig Wittgenstein's remarks inPhilosophical Investigationsand elsewhere in the posthumously published writings concerning the role of therapy in relation to philosophy. Wittgenstein's reflections seem to suggest that there is a kind of philosophy or mode of investigation targeting the philosophical grammar of language uses that gratuitously give rise to philosophical problems, and produce in many thinkers philosophical anxieties for which the proper therapy is intended to offer relief. Two possible objectives of later Wittgensteinian therapy are proposed, for subjectivepsychologicalversus objectivesemanticsymptoms of ailments that a therapy might address for the sake of relieving philosophical anxieties. The psychological in its most plausible form is rejected, leaving only the semantic. Semantic therapy in the sense defined and developed is more general and long-lasting, and more in the spirit of Wittgenstein's project on a variety of levels. A semantic approach treats language rather than the thinking, language-using subject as the patient needing therapy, and directs its attention to the treatment of problems in language and the conceptual framework a language game use expresses in its philosophical grammar, rather than to soothing unhappy or socially ill-adjusted individual psychologies.


2014 ◽  
Vol 3 (1) ◽  
Author(s):  
Jorge León Casero

ABSTRACTAt the beginning of the 70’ of the XXth century, a critical revision of the methodological and historiographic postulates of the so called ‘big stories’ created during the XIXth century – for exemple, in the works of Voltaire, Hegel or Spencer- was made. That is why a new historiographic fashion, based on the topics of interdisciplinarity, microstories or fragmented methodologies, was created. In that pigeonhole was situated, among others, the archeology of Michel Foucault. The criticism of Manfredo Tafuri attacks those judgments and offers a true and radical interdiciplinary methodology.RESUMENA comienzos de los años 70 del siglo XX se produjo una revisión crítica de los postulados metodológicos e historiográficos de las denominadas “grandes narraciones” creadas a los largo del siglo XIX como ejemplificaban las obras de Voltaire, Hegel o Spengler. De este modo se produjo una nueva moda historiográfica basada en los tópicos de la interdisciplinariedad, las microhistorias, o las metodologías fragmentarias. En este casillero fue colocada, entre otras, la arqueología de Foucault. La crítica de Manfredo Tafuri ataca dichos juicios proponiendo a su vez una verda-dera metodología interdisciplinar radical.


2021 ◽  
Author(s):  
◽  
Michael Benjamin Warren Sinclair

<p>1.1 When I first looked, into Wittgenstein's Philosophical Investigations I felt not so much that this was great work, but that it was alive and exciting, a going concern. I next learned of its difficulty; it seemed to me then (as it does now) that Wittgenstein omitted all the preliminary easy bits that we usually find in philosophy books and, treated only of the very difficult problems which concerned him. That this was great philosophy had to be accepted, for most of the people I knew of as top philosophers said so. Its acknowledged greatness was not, however, the primary reason, nor even an important reason, for my continued reading of Wittgenstein's work it was the enigmatic style and. the strange feeling of depth in the remarks; I felt they really did say something glorious, make a powerful gesture (cf., PI, *610), if I could only figure out what.</p>


2022 ◽  
pp. 19-27
Author(s):  
Arianna Sforzini

The essay engages with a screenplay by Michel Foucault, written in 1970 for a film, not realized during Foucault’s lifetime, about Pablo Picasso’s Las Meninas, a series of 58 paintings that the artist made in 1957, taking up, updating, reinterpreting the famous painting with the same title by Diego Velázquez (1656). This screenplay is at the same time an example of critical reflection on reenactment in art history and itself a reenactment practice of sorts: the filmic repetition of an artistic repetition. It invites a reflection on the role of repetition as a critical operation: how doubles, reenacted images, and ‘counter-mimesis’ can become creative gestures and opening movements of transformation through plays of refraction, duplication, and multiplication of the realities and subjectivities at stake in them.


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