Karen Zumhagen-Yekplé

Ludwig Wittgenstein famously declared that philosophy “ought really to be written only as a form of poetry,” and he even described the Tractatus as “philosophical and, at the same time, literary.” But few books have really followed up on these claims, and fewer still have focused on their relation to the special literary and artistic period in which Wittgenstein worked. This book offers the first collection to address the rich, vexed, and often contradictory relationship between modernism—the twentieth century’s predominant cultural and artistic movement—and Wittgenstein, one of its preeminent and most enduring philosophers. In doing so it offers rich new understandings of both. Michael LeMahieu Karen Zumhagen-Yekplé bring together scholars in both twentieth-century philosophy and modern literary studies to put Wittgenstein into dialogue with some of modernism’s most iconic figures, including Samuel Beckett, Saul Bellow, Walter Benjamin, Henry James, James Joyce, Franz Kafka, Adolf Loos, Robert Musil, Wallace Stevens, and Virginia Woolf. The contributors touch on two important aspects of Wittgenstein’s work and modernism itself: form and medium. They discuss issues ranging from Wittgenstein and poetics to his use of numbered propositions in the Tractatus as a virtuoso performance of modernist form; from Wittgenstein’s persistence metaphoric use of religion, music, and photography to an exploration of how he and Henry James both negotiated the relationship between the aesthetic and the ethical. Covering many other fascinating intersections of the philosopher and the arts, this book offers an important bridge across the disciplinary divides that have kept us from a fuller picture of both Wittgenstein and the larger intellectual and cultural movement of which he was a part.

This innovative critical study reinterprets Ludwig Wittgenstein's philosophy for the study of modernist and contemporary literature and brings Wittgenstein into literary conversations around problems of difficulty, ethical instruction, and the yearning for transformation. Central to Karen Zumhagen-Yekple͹'s book are her critical readings of key modernist texts by Franz Kafka, Virginia Woolf, and James Joyce. Throughout, Zumhagen-Yekplé brings to bear an interpretive framework that she derives from Wittgenstein's gnomic "Tractatus Logico-Philosophicus" (first published in English in 1922, the "annus mirabilis" of modernism), which she treats not as a theory of logic or metaphysics but as a complex mock-theoretical puzzle. The book's final chapter turns to recent fiction by J. M. Coetzee, a living author conscious of his debts both to Wittgenstein and his modernist literary precursors. This book will interest students of literary modernism, Wittgenstein, and the interconnections between fiction and ordinary language philosophy.

Ludwig Wittgenstein famously declared that philosophy “ought really to be written only as a form of poetry,” and he even described the Tractatus as “philosophical and, at the same time, literary.” But few books have really followed up on these claims, especially as they relate to the special literary and artistic period in which Wittgenstein worked. This book offers the first collection to address the rich, vexed, and often contradictory relationship between modernism—the twentieth century’s predominant cultural and artistic movement—and Wittgenstein, one of its preeminent and most enduring philosophers. In doing so it offers rich new understandings of both. Karen Zumhagen-Yekplé and Michael LeMahieu bring together scholars in both twentieth-century philosophy and modern literary studies to put Wittgenstein into dialogue with some of modernism’s most iconic figures, including Samuel Beckett, Saul Bellow, Walter Benjamin, Henry James, James Joyce, Franz Kafka, Adolf Loos, Robert Musil, Wallace Stevens, and Virginia Woolf. The contributors touch on two important aspects of Wittgenstein’s work and modernism itself: form and medium. They discuss issues ranging from Wittgenstein and poetics to his use of numbered propositions in the Tractatus as a virtuoso performance of modernist form; from Wittgenstein’s persistence metaphoric use of religion, music, and photography to an exploration of how he and Henry James both negotiated the relationship between the aesthetic and the ethical. Covering many other fascinating intersections of the philosopher and the arts, this book offers an important bridge across the disciplinary divides that have kept us from a fuller picture of both Wittgenstein and the larger intellectual and cultural movement of which he was a part.

In this essay, I read Woolf’s To the Lighthouse together with philosopher Cora Diamond’s writing on literature and moral life, writing marked by her inheritance from Wittgenstein. I first attend to Woolf’s commitment (one she shares with Wittgenstein) to grappling with what I take to be signature issues of modernism: question, quest, and a longing for vision or revised understanding as a way of confronting the difficulty of reality. I then probe Woolf’s engagement with these issues by reading her novel in light of Diamond’s essay “The Difficulty of Philosophy and the Difficulty of Reality.” Diamond’s insights about literature’s capacity for ethical instruction, and her discussion in that essay of the experience of an ordinary sublime so painful or astonishing that it resists our understanding and categories of thought, illuminate a new philosophical context in which to understand more clearly and profoundly the stakes and aims of Woolf’s novel. Reading Woolf alongside Diamond also prompts us to recognize important ways in which matters that lie at the heart of To the Lighthouseintersect with the Wittgensteinian preoccupations that inform Diamond’s own thinking—concerns about the ethics of difficulty; skepticism about what other people think and feel; the search for communicative and existential clarity; the capacity of literature and fairy tale to convey a sense of beauty or of the “terrible” in the world; the status of expressions of our ethical experience as necessarily nonsensical; a longing for the sense of wholeness, transformative understanding, wonder, safety, and peace to stave off illusion or despair. One important subsidiary effect of looking at Woolf and Diamond together is that doing so also allows us to make significant oblique connections between Woolf’s thinking and Wittgenstein’s, connections that continue to bring into focus the philosophical sympathies that attest to the mutual relevance of their peculiar brands of modernism.

This essay takes up the significance of Wittgenstein's philosophy for our understanding of literature (and vice versa) through a comparative reading of the stakes and aims of Kafka's and Wittgenstein's respective circa 1922 puzzle texts “Von den Gleichnissen” (“On Parables”) and the Tractatus Logico-Philosophicus. The essay builds upon the so-called resolute program of Wittgenstein interpretation developed by Cora Diamond, James Conant, and others, bringing its insights to bear on Kafka's perplexing work. The essay explores the ethical weight of these two writers' investment in the philosophical depth of riddles, irony, and parabolic and nonsensical expression as unorthodox modes of indirect instruction about ordinary language and world, the yearning for transcendence, and the failure to achieve it. Both demanding works deal with the ethical difference between “getting” the philosophical import of a story or joke and not getting it in the context of an examination of the relationship (or lack thereof) between the activities and difficulties of everyday life, on the one hand, and those of literary expression and/or spiritual or philosophical teaching, on the other. Both strive to open readers to experience — as revealed through everyday language — by leading us beyond the dichotomy of facticity and transcendence, away from the urge to transcend the limits of language, and toward a recognition of the possibility of seeing our ordinary dealing with things as presenting a face of significance that is at once linguistically meaningful and ethically valuable. The central aim of this discussion of Wittgenstein's Tractatus and “Lecture on Ethics” alongside Kafka's parable is to examine the ways in which Wittgenstein's philosophical outlook, writing, and method (shaped by his general attraction to the Book and book writing as well as by his reading of certain works of literature) are deeply relevant to literary studies, and particularly to our understanding of literary modernism.

Zumhagen-Yekplé reads Wittgenstein’s Tractatus resolutely, alongside the “Ithaca” chapter of James Joyce’s Ulysses, arguing that looking at Wittgenstein in this way offers new dimensions for understanding Wittgenstein’s relationship to modernism that are otherwise unavailable through more traditional readings of the Tractatus. Zumhagen-Yekplé traces the shared aspects of Wittgenstein’s and Joyce’s counter-epiphanic aesthetic practices, concentrating on the explorations they conduct in their respective modernist puzzle texts of the issues of difficulty, question, quest and yearning for transformation (which she argues are a central secular-spiritual concern of European high modernism) while also attending to important differences between their respective projects. In propositions that attest to Tolstoy’s influence on his thinking, Wittgenstein writes of a worldview he calls “happy,” an outlook of acceptance deeply connected to his notion of “seeing the world in the right way” and his enigmatic statement that the solution to the problem of life is to be seen in its vanishing. Zumhagen-Yekplé explores the ways in which Bloom, Joyce’s own long-doubting, questioning and questing modern “Everyman or Noman” becomes an unexpected literary exemplar of a person who looks upon the world and its problems with this “happy” attitude. She argues that the differences in Joyce’s and Wittgenstein’s divergent treatments of what Wittgenstein describes in the Tractatus as “seeing the world aright” not only shed light on the continuity of Wittgenstein’s “early” and “late” philosophy, they also give us new purchase on the evolution of Wittgenstein’s philosophical method from the Tractatus to the Philosophical Investigations.