Garry L. Hagberg

In lieu of an abstract, here is a brief excerpt of the content:Leporello's QuestionGarry L. HagbergOne finds in the later philosophical writings of Ludwig Wittgenstein an articulation of the distinctive attitude we bring to the perception of human beings. This attitude, called by Wittgenstein "Eine Einstellung zur Seele," an attitude towards a soul, is irreducible—it cannot be analyzed into any more basic constituent parts—and it is the precondition for our sympathetic and imaginative understanding of others. It serves at the same time as the precondition for human selfhood. Stated succinctly, this unique attitude, marking the contrast between our perception of a human being and our perception of anything else animate or inanimate, is constitutive of who and what we are. And while this irreducible facet of the human situation is expressly articulated in philosophy—that is, it is therein said—it is shown in myriad places and ways. Viewed through the lens of Wittgenstein's fundamental concern with this ineliminable human attitude, Mozart and da Ponte's Don Giovanni reveals considerable insight into the content of humane acknowledgment, and the very concept of selfhood upon which that acknowledgment is based.IIt is just after voicing his aspirations to become a gentleman himself that Leporello, outside the palace of the Commendatore, provides the [End Page 180] interpretive clue to the philosophical significance of the entire opera. Thinking that he hears someone coming, he puts into play within the opening line of Don Giovanni the intertwined themes of concealment, of person-perception, and of the underlying desire for human avoidance that motivates the particular act of concealment in question: "I don't want to be seen, ah, I don't want to be seen, I don't want to be seen, no, no, no, no, no, I don't want to be seen" (p. 86).1 However, the deepest clue to the philosophical significance—and the one that resonates most clearly throughout the opera—is given by Don Giovanni himself and comes in his very first line: "You shall not know who I am" (p. 86). He repeats this morally significant epistemic limit a moment later to secure this limitation on person-perception with an emphatic denial (to Donna Anna): "You scream in vain, you shall not know who I am, no" (p. 86).If we are then to see Don Giovanni as an opera that houses considerable insight—and an instructive object-lesson—about what Wittgenstein and others have discussed as the preconditions of selfhood, of inner human content, that make the distinctive—and as I have discussed elsewhere, instructively irreducible—attitude or stance we take towards other persons so much as possible, we must investigate how the opera serves to frame Giovanni.2 That is, we must comparatively situate him in relation to the other characters, as a person lacking precisely that human content, that interiority, which makes the distinctive and remarkable attitude, the essence of person-perception, possible. But before I proceed with the attempt to sketch the philosophical content to which both Leporello's and Giovanni's first words provide clues, let us consider some preliminary details in the libretto that point out the interpretive direction we will take.As early as the fatal wounding of the Commendatore, a telling contrast emerges. With the Commendatore dying, Leporello exclaims "What a tragedy! What a crime!" and then, having made these morally-engaged judgments, he describes his inner state with "I feel my heart pounding with fear in my breast." Then, in humanly-engaged reaction to the scene, he exclaims with increasing urgency (owing to his moral perception of the magnitude of the profound human loss presently occurring at Giovanni's hand) that he does not know what to say or to do. Showing in his words, his actions, and his felt urgency, his attitude towards the person of the Commendatore, Leporello stands in striking contrast to the humanly disengaged language and posture of Giovanni—a posture or stance that displays only a refusal to acknowledge the [End Page 181] humane loss he is presently causing. Giovanni provides the cold description of a detached eyewitness—one without a trace of imaginative sympathy for the victim—that approximates the outwardly descriptive language of a dehumanized behaviorist: "already...

This book investigates the significance of Wittgenstein’s philosophy for aesthetic understanding. Focusing on the aesthetic elements of Wittgenstein’s philosophical work, the authors explore connections to contemporary currents in aesthetic thinking and the illuminating power of Wittgenstein’s philosophy when considered in connection with the interpretation of specific works of literature, music, and the arts. Taken together, the chapters presented here show what aesthetic understanding consists of and the ways we achieve it, how it might be articulated, and why it is important. At a time of strong renewal of interest in Wittgenstein’s contributions to the philosophy of mind and language, this book offers insight into the connections between philosophical-psychological and linguistic issues and the understanding of the arts.

We often think of works of art as possessors of meaning, and we think of museums as places where that meaning can be exhibited and encountered. But it is precisely at this first step of thinking about artistic meaning that we too easily import a conceptually entrenched model or picture of linguistic meaning that then constrains our appreciation of artistic meaning and what museum exhibitions actually do. That model of linguistic meaning is atomism: the notion that the single, self-contained word is the ultimate building block of meaning. This picture was excavated with exacting precision in Wittgenstein's sustained reflections on the nature of meaning, and the new way of seeing linguistic meaning that those reflections usher in holds direct significance for our understanding of artistic meaning, as we see here in examples from Rembrandt, Rietveld, and others. A more complete understanding of a dynamic, interactive, contextual, and use-based conception of language better reveals what actually happens in museums and the nature of the meaning we find there.

Literature is a complex and multifaceted expression of our humanity, one dimension of which is ethical content. This striking collection of new essays pursues a fuller and richer understanding of five of the central aspects of this ethical content. These aspects are: the question of character, its formation, and its role in moral discernment; poetic vision in the context of ethical understanding; literature's distinctive role in self-identity and self-understanding; patterns of moral growth and change that emerge from the philosophical reading of literature; and the historical sources and genealogies of some of our most central contemporary conceptions of the ethical dimension of literature. The volume engages with literary work from Homer to J. M. Coetzee, Shakespeare to David Foster Wallace, and explores the philosophy of Plato, Aristotle, Descartes, Locke, Kant, Hegel, Freud, Heidegger, Wittgenstein, Levinas, and others. This rich collection presents some of the best new thinking about the ethical content that lies within literature, and it shows why our reflective absorption in literature is the humane--and humanizing--experience many of us have long taken it to be.

: This paper argues that Dostoevsky's Notes from Underground makes a fundamental point that runs directly counter to the received popular image of the work; i.e. the understanding that Notes describes a consciousness reflecting on itself, hermetically sealed within its own Cartesian interior. In truth, a closer reading shows that the mind depicted therein is profoundly relational and situated in a particularized context, and that this discursive mind characterizes what Wittgenstein says about mental privacy in the context of the private language argument. The upshot is that language is not secondary, not an afterthought, and thus not posterior to pure subjectivity of the kind that many who celebrate "inferiority" take as a given human experience

As part of a Common Knowledge colloquium on “lyric philosophy,” this essay considers some of the connections between linguistic and nonlinguistic meaning, the connection between linguistic meaning and what Wittgenstein called aspect perception or imagination-enriched perception, issues in the analysis of meaning down to constituent parts and the problematic legacy of atomistic approaches to word-meaning, the inflection of experience across time and across context and the role of sensibility in both perception and linguistic meaning, and the larger problem of what Simone Weil called “enslavement to one's own method.” What Jan Zwicky urges, and philosophically as well as poetically works toward, is, in Wittgenstein's terms, “a changed way of seeing,” though in her work the focus is specifically on a changed way of seeing the long-established question of linguistic meaning. Hagberg's essay seeks to specify or at least to intimate the form of human mutual understanding that, while too easily missed by traditionally entrenched approaches, Zwicky's approach nicely captures.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 354-368 [Access article in PDF] Davidson, Self-knowledge, and Autobiographical Writing Garry Hagberg AMONG THE NUMEROUS THINGS that make any autobiographical undertaking so interesting is the fact that there exists no one-to-one correlation between a person's belief, intention, preference, desire, hope, fear, expectation, and so forth (through a list including many of the diverse things philosophers now tend to group together as propositional attitudes) and that person's behavior. Were there such a relation, our knowledge of others would be far more transparent than it is, and autobiographical writing would prove straightforwardly simple: for each remembered action there would be a determinate mental event that stood behind it, and a recording of the past action by the autobiographer would entail the parallel reporting of the mental predecessor, or indeed cause 1 articulated in terms of the content of a single propositional attitude, of that action.Of course, this simple dualistic schema has been subjected to various forms of scrutiny: Nietzsche decried what he generically termed the "antecendentia of action," 2 referring to the explanatory dreamland many philosophers and other theorists have happily but confusedly occupied, wherein the explanations of "outward" human actions proceed in what we will then call prior inward mental determinants. Focusing on the alleged temporal separation of antecedent and consequent action, Nietzsche with characteristic rhetorical force ridicules the [End Page 354] misled many who attempt to explain something in some cases so complex, and in other cases so immediate, as human intentional action. Ryle, focusing on the dualistic separation of inner and outer in any such explanatory schema, famously argued against the very conceptual substructure of the "ghost in the machine" 3 ; the ensuing behaviorism argued against the inner world of mental machinations, yielding a picture of selfhood that was in retrospect fairly close to and anticipatory of one variety of reductive monism, or "animalism," now argued in some quarters. 4 On any such behavioristic-reductionistic view, the project of the autobiographer would precisely be just to recount past actions, show their relations to other actions both before and after, and give an overarching narrative that displays the shape of a life over time—all without explanatory recourse to ghostly prior causes standing behind, and invariably dualistically linked to, the actions being recounted.Wittgenstein's conceptually reorienting remarks avoided the Scylla of dualism and the Charybdis of behaviorism, 5 and although any summary statement of his position is instructively impossible, it can be said that he showed that the language-games of intentional action are intricately, and with an irreducible complexity, interrelated with the language-games of human behavior and—to speak too generally—action-description. 6 Equipped with the view, or rather overview (Wittgenstein's übersicht), that we might gain of those myriad interrelations between language-games as a result of a consideration of cases (of precisely the kinds psychologically mimetic literature affords), we might outlive our desire to thematically encapsulate the (mythical) unitary nature of the relation between intention and action, and correspondingly free ourselves of a misbegotten picture of autobiographical writing, i.e., the very picture of one-to-one action-causation, and hence of autobiographical truth, mentioned above. But deliverance out of the grip of any such picture, to reemploy Wittgenstein's resonant phrase, is not easily won; it is most assuredly not a simple matter of deciding not to think that way anymore, or of being permanently relieved of any such dualistic misconception as a result of reading a few memorable remarks. The impulses to posit Nietzsche's antecedentia, to believe in Ryle's despised ghosts, to cling to a partially submerged belief that autobiographical writing will, with whatever local variations, fit the generic dualistic mold Wittgenstein labors to undercut, is no more the kind of thing one simply leaves behind any more than one simply drops, upon recognition that it is such, what a Freudian calls a repetition-compulsion. [End Page 355]Thus Donald Davidson writes—and (leaving aside what "truer" means) truer words are rarely spoken—that "there is a picture of the mind which...