Ludwig Wittgenstein: Communication as a language game

2014 ◽  
pp. 48-48
Keyword(s):  
Ludwig Wittgenstein ◽  
Language Game

Concepts of Colour and Limits of Understanding

2018 ◽  
Author(s):  
Barry Stroud
Keyword(s):  
Ludwig Wittgenstein ◽  
Language Game ◽  
Number System ◽  
Colour System ◽  
Perfect Pitch

This chapter examines some puzzling reflections by Ludwig Wittgenstein on the possibility of understanding concepts of the colours of things different from those already familiar to us. It begins with a discussion of Wittgenstein’s statement: ‘Someone who has perfect pitch can learn a language-game that I cannot learn’. In particular, it considers how Wittgenstein draws a connection between perfect pitch and concepts of colours and invites us to imagine people who speak of colours intermediate between red and yellow by means of fractions in a kind of binary notation representing different proportions of the colours at each end of the range from red to yellow. The chapter also analyses Wittgenstein’s views on whether the number system and the colour system ‘reside in our nature or in the nature of things’.

scholarly journals LANGUAGE GAME: LUDWIG WITTGENSTEIN

2020 ◽  
Vol 11 (12) ◽  
Author(s):  
Dipankar Das ◽  
Rituparna Neog
Keyword(s):  
Ludwig Wittgenstein ◽  
Language Game

scholarly journals Untying the knots of thinking: Wittgenstein and the role of philosophy in Christian faith

2015 ◽  
Vol 49 (1) ◽  
Author(s):  
Aleksandar S. Santrac
Keyword(s):  
Ludwig Wittgenstein ◽  
Language Game ◽  
Christian Theology ◽  
Christian Faith ◽  
Critical Examination ◽  
Ultimate Truth ◽  
Concrete Application

This article deals with Ludwig Wittgenstein’s philosophy and how it can be properly applied in Christian theology. It provides useful tools for methodology in Christian thinking. According to Wittgenstein, philosophy deals primarily with critical examination, clarification and evaluation of the language we use. Wittgenstein’s ideas − including the concept of mystery beyond linguistic forms, the idea of language game and its possible evolution, the impossibility of the ultimate truth and the concrete application of language − have the potential to play a very significant methodological role in every form of theological doctrinal expression.Wittgenstein en die rol van die filosofie in die Christelike geloof. Hierdie artikel handel oor Ludwig Wittgenstein se filosofie en hoe dit behoorlik toegepas kan word in die Christelike teologie. Dit bied nuttige gereedskap vir metodologie in Christelike denke. Volgens Wittgenstein, handel filosofie hoofsaaklik oor die kritiese ondersoek, verduideliking en evaluering van die taal wat ons gebruik. Wittgenstein se idees − insluitend die konsep van misterie buite taalkundige vorms, die idee van taalspel en die moontlike evolusie, die onmoontlikheid van die uiteindelike waarheid en die konkrete toepassing van taal − het die potensiaal om ’n baie belangrike metodologiese rol te speel in elke vorm teologiese leerstellige uitdrukking.

scholarly journals SUSRET HEIDEGGERA I WITTGENSTEINA / THE ENCOUNTER OF HEIDEGGER AND WITTGENSTEIN

2020 ◽  
pp. 86-104
Author(s):  
Adem Olovčić
Keyword(s):  
Everyday Life ◽  
Martin Heidegger ◽  
Life Events ◽  
Ludwig Wittgenstein ◽  
Real Life ◽  
Language Game ◽  
The Other ◽  
The World ◽  
The Given ◽  
Practical Instrument

This paper focuses on language as a medium for a critique of the traditional metaphysical concepts, expressed in the philosophies of two contemporary philosophers, Martin Heidegger and Ludwig Wittgenstein, where the language is treated as a framework for understanding the world in a multitude of its, for philosophy significant determinants. Although Heidegger, in his philosophy, was primarily concerned about the question of the being, he seeks that sense in thought, which took him away to language, as the only place where the given questions can be examined. Considering that the truth of the being cannot be expressed in everyday, linguistically and instrumentally conceived language, Heidegger will in his thought reach the language of poetry, as place were the understanding of the truth of being and its related concepts is possible. Wittgenstein, on the other hand, will focus in philosophical thought on the problems of language, which, in his philosophy, will culminate in the notion of a language game. With this term, Wittgenstein, first of all had in mind the interconnectedness of the use of language and the life practice. Still, he did not think of a language as an everyday – practical instrument of communication, but rather, as a place where linguistic definitions of language, everyday life practices and real life events meet.  In doing so, these thinkers, through their interpretations of linguistic issues, have reached a point in which is possible to understand their encounter.

LANGUAGE GAME: LUDWIG WITTGENSTEIN

2021 ◽  
Author(s):  
Dipankar Das ◽  
Rituparna Neog
Keyword(s):  
Ludwig Wittgenstein ◽  
Language Game

Perspectives on Meaning in Music Therapy

1998 ◽  
Vol 12 (1) ◽  
pp. 20-27 ◽  
Author(s):  
Brynjulf Stige
Keyword(s):  
Music Therapy ◽  
Ludwig Wittgenstein ◽  
Language Game ◽  
Music Therapists ◽  
British Music ◽  
Family Resemblances ◽  
Aesthetic Understanding ◽  
Point Of Departure

In this article I discuss some questions on meaning in music therapy by taking as my point of departure the different perspectives of two British music therapists, Mary Priestley and Gary Ansdell. Since all discussions of meaning – even when considering ‘non-verbal phenomena’ – are based on an understanding of language, I have found the philosophy of Ludwig Wittgenstein an interesting port of entry to this topic. Following an introduction to Wittgenstein's concepts of ‘language game’ and ‘family resemblances’, I give a brief discussion of Wittgenstein's relevance for aesthetic understanding, highlighting the concept of ‘intransitive understanding’. These three concepts will then be used as a basis for examining the differences between Priestley's and Ansdell's perspectives, which may serve to expand our thinking about meaning in music therapy.

scholarly journals Perspectives on Meaning in Music Therapy

2003 ◽  
Vol 3 (1) ◽  
Author(s):  
Brynjulf Stige
Keyword(s):  
Music Therapy ◽  
Ludwig Wittgenstein ◽  
Language Game ◽  
Music Therapists ◽  
British Music ◽  
Family Resemblances ◽  
Aesthetic Understanding ◽  
Point Of Departure

In this article I discuss some questions on meaning in music therapy by taking as my point of departure the different perspectives of two British music therapists, Mary Priestley and Gary Ansdell. Since all discussions of meaning - even when considering "non-verbal phenomena" - are based on an understanding of language, I have found the philosophy of Ludwig Wittgenstein an interesting port of entry to this topic. Following an introduction to Wittgenstein's concepts of "language game" and "family resemblances", I give a brief discussion of Wittgenstein's relevance for aesthetic understanding, highlighting the concept of "intransitive understanding". These three concepts will then be used as a basis for examining the differences between Priestley's and Ansdell's perspectives, which may serve to expand our thinking about meaning in music therapy.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

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