Garry L. Hagberg

: 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

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...

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 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's documentary on the first century of jazz really is. Those expatriate players were all but forced out by a rapidly diminishing audience and a corresponding lack of appreciation for their artistic achievements and abilities. It is in any social context an achievement to gain an audience for an undervalued artform of between three and four million viewers for nineteen hours; to have done so against the backdrop of the fact—one bitter to swallow for so many American players of those years—that the country of origin for this artform was so slow to significantly value it, makes this documentary almost a form of cultural emergency-relief. But it also raises the stakes in how jazz is represented, which of its features are focused upon, and what kind of story is told about its development. In my opinion the film makes deeply serious errors in each of these ways—almost to the point of turning this seemingly magnificent gift to jazz into a Trojan horse—but here I'd like to focus on five of the features of jazz as an art that I think make jazz particularly difficult to portray in a reduced or simplified form. To put the point a bit more strongly: without an awareness of (at the least) these five features of jazz, any attempted portrayal would run the very serious danger of engendering or further nurturing the very incomprehension of the artistic or aesthetic achievements of jazz that drove all those American players to Copenhagen, Paris, London, Munich, Vienna, and Amsterdam in the first place. It is, in short, necessary to provide at least a sense of what is [End Page 188] intrinsically problematic about the artform to illuminate both its distinctive nature and the aesthetic problems—taken by its practitioners as its internally generated artistic challenges—that give this artform its dynamic energy.First, there is the fundamental question concerning the metaphysics of a jazz piece, i.e., what kind of thing it is. At a glance one can see that a familiar attempt to answer this question within the larger field of the aesthetics of music, i.e., the identification of the work with the score, will have precious little plausibility when applied to jazz. As any jazz musician or aficionado knows, jazz pieces that become "standards" are pieces that are performed countless times, in innumerably variegated ways, and what is usually of greatest interest about any given performance of a standard is not, indeed, how well or to what extent it instantiates a predetermined ideal of the piece as specified in the score, but rather how it departs from, or adds distinctive interpretive content, to the basic structure of the piece. This aesthetically significant fact is reflected in the correlated common practice of using, not scores, but rather schematic "lead sheets" that provide the very basic harmonic and melodic material of the piece. Even larger-ensemble pieces, e.g., the scores of Duke Ellington, are notated only in the sectional writing; the improvisational sections—the sections that many would say give the distinctive life to any given performance—are of course not notated. There are fully notated scores of many—to use a dangerously complicated word—classic jazz performances, but in jazz parlance these, here again with aesthetic significance, are not called scores, but rather transcriptions, and in this improvisational artform it would be cause for suspicion rather than congratulation if a player were to perform a given work exactly in accordance with the transcription repeatedly. The nature of the jazz piece, the jazz composition, is thus extraordinarily fluid and only minimally defined. And as one might expect, the degree or the extent...