Danièle Moyal-Sharrock

This paper aims to distinguish Wittgenstein’s concept of ‘form of life’ from other concepts or expressions that have been confused or conflated with it, such as ‘language-game’, ‘certainty’, ‘patterns of life’, ‘ways of living’ and ‘facts of living’. Competing interpretations of Wittgenstein’s ‘form of life’ are reviewed, and it is concluded that Wittgenstein intended both a singular and a plural use of the concept; with, where the human is concerned, a single human form of life characterized by innumerable forms of human life

In much of her writing, Cora Diamond stresses the role of the imagination in awakening the sense of our humanity. She subtly unthreads the operations of the ethical imagination in literature, but deplores its absence in philosophy. Borrowing the notion of ‘deflection’ from Cavell, Diamond sees ethical understanding ‘present only in a diminished and distorted way in philosophical argumentation’. She does, however, herself make a philosophical, if idiosyncratic, use of the imagination in her appeal to it for a ‘transitional’ understanding of nonsensical Tractarian remarks. I begin by delineating and endorsing Diamond’s humanistic view of the creative imagination; I then argue against her opportunistic use of the imagination in her interpretation of the Tractatus and her condemnation of philosophical ethics

Wittgenstein demystified the notion of 'observational self-knowledge'. He dislodged the long-standing conception that we have privileged access to our impressions, sensations and feelings through introspection, and more precisely eliminated knowing as the kind of awareness that normally characterizes our first-person present-tense psychological statements. He was not thereby questioning our awareness of our emotions or sensations, but debunking the notion that we come to that awareness via any epistemic route. This makes the spontaneous linguistic articulation of our sensations and impressions nondescriptive. Not descriptions, but expressions that seem more akin to behaviour than to language. I suggest that Wittgenstein uncovered a new species of speech acts. Far from the prearranged consecration of words into performatives, utterances are deeds through their very spontaneity. This gives language a new aura: the aura of the reflex action. I argue, against Peter Hacker, that spontaneous utterances have the categorial status of deeds. This has no reductive consequences in that I do not suggest that one category is reduced to another, but that the boundary between them is porous. This explodes the myth of an explanatory gap between the traditionally distinct categories of saying (or thinking) and doing, or of mind and body.

This radical reading of Wittgenstein's third and last masterpiece, On Certainty, has major implications for philosophy. It elucidates Wittgenstein's ultimate thoughts on the nature of our basic beliefs and his demystification of scepticism. Our basic certainties are shown to be nonepistemic, nonpropositional attitudes that, as such, have no verbal occurrence but manifest themselves exclusively in our actions. This fundamental certainty is a belief-in, a primitive confidence or ur-trust whose practical nature bridges the hitherto unresolved categorial gap between belief and action.

This anthology focuses on the extraordinary contributions Wittgenstein made to several areas in the philosophy of psychology - contributions that extend to psychology, psychiatry, sociology and anthropology. To bring them a richly-deserved attention from across the language barrier, Danièle Moyal-Sharrock has translated papers by eminent French Wittgensteinians. They here join ranks with more familiar renowned specialists on Wittgenstein's philosophical psychology. While revealing differences in approach and interests, this coming together of some of the best minds on the subject discloses a surprising degree of consensus, and gives us the clearest picture yet of Wittgenstein as a philosopher of psychology

As is well known, Wittgenstein pointed out an asymmetry between first- and third-person psychological statements: the first, unlike the latter, involve observation or a claim to knowledge and are constitutionally open to uncertainty. In this paper, I challenge this asymmetry and Wittgenstein's own affirmation of the constitutional uncertainty of third-person psychological statements, and argue that Wittgenstein ultimately did too. I first show that, on his view, most of our third-person psychological statements are noncognitive; they stem from a subjective certainty: a certainty which, though not the result of an epistemic process, is not invulnerable to error in that it is a kind of assumption. I then trace Wittgenstein's realization that some third-person psychological certainties are not merely subjective but 'objective' (which means, as he uses the word, that they are logically indubitable): in some cases, we can be as logically certain that someone else is in pain than we are about ourselves being in pain. This positively reinforces Wittgenstein's rebuttal of other mind scepticism. I conclude with a response to objections about the legitimacy of calling an assurance that is logical (i.e., that does not have uncertainty or doubt on its flipside) a 'certainty', by suggesting that the flipside is to be found in pathological cases, and most pertinently here, in cases of dyssemia: a rare disorder affecting the ability to properly express or recognize basic physical expressions of feeling.

_ Source: _Volume 6, Issue 2-3, pp 97 - 119 In this paper, I briefly summarize the nature of Wittgenstein’s ‘hinge certainties,’ showing how they radically differ from traditional basic beliefs in their being nonepistemic, grammatical, nonpropositional, and enacted. I claim that it is these very features that enable hinge certainties to put a logical stop to justification, and thereby solve the regress problem of basic beliefs. This is a ground-breaking achievement—worthy of calling _On Certainty_ Wittgenstein’s ‘third masterpiece.’ As I go along, I question some differing interpretations and respond to some objections from fellow-readers of _On Certainty_: Duncan Pritchard, Michael Williams, and Crispin Wright.

This anthology is the first devoted exclusively to On Certainty. The essays are grouped under four headings: the Framework, Transcendental, Epistemic and Therapeutic readings, and an introduction helps explain why these readings need not be seen as antagonistic. Contributions from W.H. Brenner, Alice Crary, Michael Kober, Edward Minar, Howard Mounce, Daniele Moyal-Sharrock, Thomas Morawetz, D.Z. Phillips, Duncan Pritchard, Rupert Read, Anthony Rudd, Joachim Schulte, Avrum Stroll, Michael Williams.

Shakespeare displays the dance of human passions, one might say. … But he displays it to us in a dance, not naturalistically.In the Tractatus, Wittgenstein says that ethics cannot be put into words. This does not mean he thought ethics could not be made manifest; and indeed I will suggest that Wittgenstein took the best manifestation of ethics to be in aesthetics, and more specifically literature. Literature uses words in such a way as to allow ethics to show itself. It does this, I suggest, through perspicuous presentations, though of a different kind than those of philosophy. Wittgenstein takes us some way toward fleshing out the literary nature of perspicuous presentations, but not far enough. To do this, I will...

If I had to say what the single most important contribution Wittgenstein made to philosophy was, it would be to have revived the animal in us: the animal that is there in every fiber of our human being, and therefore also in our thinking and reasoning. This means, his pushing us to realize that we are animals not only genealogically, but as evolved human beings—whether neonate, or language-possessing, civilized, law-abiding, fully fledged adults. Constitutionally, and in everything we do, still fundamentally animals.

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us.

This special issue on Forms of Life was conceived on the top floor of a café overlooking one of Rome's wonderful Piazzas, after a conference, hosted by Piergiorgio Donatelli, on Forms of Life and Ways of Living. Piergiorgio, Sandra Laugier and I thought the subject cried out for a small collection of essays in which several voices would elucidate the genesis, use and potential of Wittgenstein's concept of form of life -- and we committed to producing it. This is the fruit of our Roman resolution. Danièle Moyal-Sharrock