(God certainly will.)” Wittgenstein’s house can be seen in the mountainside on the left.
© Jon Bolstad Calm and concentration But Wittgenstein traveled back, again and again, and achieved his most productive periods in Skjolden: “I can’t imagine that I could have worked anywhere as I do here.
is an anthology of twenty pieces by eighteen authors.
Although the title may suggest otherwise, the approach taken is predominantly — though not exclusively — academic philosophical.
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.
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.
These were two essentially different discoveries – carried out by the Norwegian forerunners of national romance and a philosopher in exile from the intellectual metropolises of Vienna and Cambridge.
The pictures of Norway One of the greatest exhibitions of national romantic art opened in June 2019 in the splendor of the Munthe House in Ytre Kroken in Luster.
And the title also points toward the literary side of Wittgenstein’s own writing, an aspect of his work that is almost inevitably referred to as its ‘style’.” There is patently a connection; yet “despite various writings on the cultural context of his work, not much has been said that would help us connect the culture that Wittgenstein possessed — and was possessed by — and the forms in which he wrote. I think it is hardly an exaggeration to say there is a hole at the heart of Wittgenstein scholarship, and not just scholarship.
What we do know — for instance, that he was for the most part alienated from the accomplishments of the last half of the nineteenth century — has so far tended to darken, rather than clarify, the philosophical significance of the literary affiliations of his work” (p. Aesthetic (literary, poetic, artistic) receptions and appreciations of Wittgenstein — these come in an astonishing variety of shapes, sounds, sizes and colors — have tended to be aesthetically marred by philosophical weakness. Operating on the assumption that Wittgenstein’s views should guide us (a debatable assumption, yes), we riddle the man’s philosophy, his style, the man himself, together.