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is an anthology of twenty pieces by eighteen authors.
And there is another cultural-historical connection between the two markings in Luster: in the wake of many Germans’ and Austrians’ “Drang nach Norden” and Emperor Wilhelm II’s annual travel to Sogn for 25 years, the philosopher Ludwig Wittgenstein also sailed into the Sognefjord in the fall of 1913 and saw the Emperor’s gift to the Norwegian people at Vangsnes, the 22 meter high Fridtjov statue.
Philosopher in exile The 24-year-old Wittgenstein was a philosopher in exile, on a voluntary “escape” both from one of Austria-Hungary’s greatest family fortunes, which he wanted to be independent from, as well as from England’s sharpest philosophers at Cambridge – a place which the genius apparently found distracting.
All contributors are academics, no novelists or poets. Wolfgang Huemer’s introduction promises “Wittgensteinian accounts of literature;” the use of “Wittgenstein’s philosophical results to solve problems pertinent to the theory of literature;’” and reflections on literature that “illuminate our understanding of Wittgenstein’s philosophy” (p. In fact, I am inclined to say the two strongest pieces do none of the above.
They are: Timothy Gould, "Restlessness and the Achievement of Peace, Writing and Method in Wittgenstein’s Philosophical Investigations“It points toward Wittgenstein’s various affiliations with other forms of writing and culture, particularly the forms that surround and infiltrate his literary education and sensibility …
It’s the quiet and, perhaps, the wonderful landscapes; I mean, its quiet seriousness.” For 60 years, there was only the empty foundation of Wittgenstein’s house on a steep mountain side, called “Austria” (Østerrike) by the locals.
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In 1919 Wittgenstein gave the house as a gift to a friend in Skjolden, but continued to live there himself when visiting Norway. Quite different people created the basis for national romance and for new philosophy.The Munthe house became thus an intense and rich artist environment, located where they found their main motives: the mountains, the waterfalls, the fjords, the folk culture and the people’s life.Among the works of art EXHIBITED in the Munthe house from 1763 are also Tidemand, Gude, JC Dahl – and Carl Johan Fahlcrantz’s lithographs for Esais Tegnérs Frithiofs saga from 1825, based on the Icelanders’ story about Fridtjov the maiden, who grew up in Sogn.Perhaps not, although one contributor, Garry Hagberg, hints astutely (but really only hints) at what I think is a promising line.In “Autobiographical Consciousness, Wittgenstein, private experience and the ‘inner picture’”, he notes that One crucial way Wittgenstein keeps in adverse philosophical contact with Schopenhauer, I think, is by establishing tension between philosophy as ‘metaphysical autobiography’ and philosophy as ‘ordinary’ self-observation and reportage.Three miles farther, inwards the Sognefjord’s inner arm Lustrafjord, Wittgenstein’s small log house was reopened after being dismantled for 60 years. What happened in Sogn 200 years ago was the start of a new phase in Norwegian identity history.What happened at the same place a hundred years ago was a new direction for philosophy – not just one historic philosophical turn, but two.Philosophical approaches have tended to go astray through insufficient attention to genuine aesthetic puzzles posed by Wittgenstein’s style and methods of composition. For good measure here are more: the reason it is crucial to bridge the literary-philosophical gap is that if we could understand why Wittgenstein hybridizes art and analytic philosophy as he does, we would understand him. And this angle, far from narrowing into a cul-de-sac of personal idiosyncrasy, may open chapters of the history of philosophy.A Nietzschean thought: “Gradually it has become clear to me what every great philosophy so far has been — namely, the personal confession of its author and a kind of involuntary and unconscious memoir.” personal’ is how Gould thumbnails this doubt. Take Arthur Schopenhauer, praised by Thomas Mann as “pre-eminently creative,” an author’s philosopher; mildly but firmly denigrated by Russell: “His appeal has always been less to professional philosophers than to artistic and literary people in search of a philosophy that they could believe.” Mann’s and Russell’s judgments sit side-by-side as blurbs on the back of a book of selections on my shelf: Arthur Schopenhauer, Schopenhauer’s most famous philosophical followers are Nietzsche and Wittgenstein.The ‘merely personal’ in Wittgenstein cannot be ignored, then, because it intrudes not as gossip but as deflationary challenge to more transcendental modes of memoir-writing.At any rate, let Schopenhauer stand (not implausibly) for a cluster of Romantic intellectual lines and formations and impulses and temperaments.