What is the true worth of Wittgenstein's contribution to philosophy? Opinions are strongly divided, with many resting on misreadings of his purpose. This book challenges 'theoretical' and 'therapeutic' interpretations, proposing that Wittgenstein saw clarification as the true end of philosophy, that his approach exemplifies critical philosophy.

Ludwig Wittgenstein and Martin Heidegger are arguably the two most influential philosophers of the twentieth century. Their work not only reshaped the philosophical landscape, but also left its mark on other disciplines, including political science, theology, anthropology, ecology, mathematics, cultural studies, literary theory, and architecture. Both sought to challenge the assumptions governing the traditions they inherited, to question the very terms in which philosophy’s problems had been posed, and to open up new avenues of thought for thinkers of all stripes. And despite considerable differences in style and in the traditions they inherited, the similarities between Wittgenstein and Heidegger are striking. Comparative work of these thinkers has only increased in recent decades, but no collection has yet explored the various ways in which Wittgenstein and Heidegger can be drawn into dialogue. As such, these essays stage genuine dialogues, with aspects of Wittgenstein’s elucidations answering or problematizing aspects of Heidegger’s, and vice versa. The result is a broad-ranging collection of essays that provides a series of openings and provocations that will serve as a reference point for future work that draws on the writings of these two philosophers.

Paul Horwich presents a bold new interpretation of Wittgenstein's later work. He argues that it is Wittgenstein's radically anti-theoretical metaphilosophy - and not his identification of the meaning of a word with its use - that underpins his discussions of specific issues concerning language, the mind, mathematics, knowledge, art, and religion.

Based on a conference held in June 2007 at the University of California Santa Cruz.

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make them possible. Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation.

This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical form as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010).

First published in 1959, this classic challenge to the prevailing philosophical orthodoxy of the day, remains the most devastating attack on a conventional wisdom in philosophy to this day.