By G.L. Hagberg
"[Art as Language] is in itself super important to illustrate of the nonetheless principally unappreciated relevance of Wittgenstein's paintings to conventional philosophical concerns. . . . This e-book, as a kind of encyclopedic critique of aesthetic theories from a Wittgensteinian viewpoint, could be enlightening to aesthetic theorists who need to know, now not what Wittgenstein stated approximately artwork, yet what the relevance of his paintings is to their use of language as some degree of reference for analyzing art."―Choice"In a sequence of acute arguments, Hagberg dismantles the quarter of grand aesthetic thought that defines paintings within the phrases philosophy has routinely 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 method is to teach the implications of maintaining a Wittgensteinian view of language and brain for classy theories that are both in keeping with, or analogous to, different non-Wittgensteinian positions approximately language and brain. this is often an enormous project."―Stanley Bates, Middlebury collage
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Additional resources for Art As Language: Wittgenstein, Meaning, and Aesthetic Theory
Social Class and Marxism: Defence and Challenges, Scolar Press, London, 1996, p. 62. 3, October 1995, p. 359. 86 See Joyce’s suggestive essay ‘The People’s English: Language and Class in England c. 1840-1920’ in Peter Burke and Roy Porter (eds), Language, Self, and Society: A Social History of Language, Polity Press, Cambridge, 1991. Here he takes issue with accounts of working-class culture (in the form of dialect literature) that deal in a ‘fantasy world inhabited by “class traitors”, “labour aristocrats”, and other examples of “false consciousness”’.
55 Yet the history of cultural encounter and objectification, the management of boundaries of inclusion and exclusion, is paralleled by attempts to give authentic and coherent voice to working class experience, to install them as subjects, active agents in the public sphere. 57 In his address ‘To the Young men of the Working Classes’, the Leicestershire activist Thomas Cooper advised of the necessity: ‘that you all join hands and head to create a literature of your own. Your own prose, your own poetry’; its aim, to ‘put you all more fully in possession of each other’s thoughts ...
99 David Cannadine, Class in Britain, Yale University Press, New Haven and London, 1998, p. 17. See also Ross McKibbin, Classes and Cultures: England, 1918-1950, Oxford University Press, Oxford, 1998 which offers and interesting point of comparison with his earlier The Ideologies of Class: Social Relations in Britain, 1880-1950, Clarendon Press, Oxford, 1990. This collects a variety of essays written in the 1970s and mid 1980s. 100 Savage, ‘Space, Networks and Class Formations’, p. 58. , p. 80.
Art As Language: Wittgenstein, Meaning, and Aesthetic Theory by G.L. Hagberg