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 | | Art As Language: Wittgenstein, Meaning, and Aesthetic Theory by G. L. Hagberg ISBN-10: 9780801485312 ISBN-10: 0-8014-8531-2 ISBN-13: 9780801485312 ISBN-13: 978-0-8014-8531-2 Paperback 1998-05 Cornell University Press Find Lowest Price |
Editorials | ||
Product Description "[Art as Language] is in itself extremely valuable as an example of the still largely unappreciated relevance of Wittgenstein's work to traditional philosophical issues. . . . This book, as a more or less encyclopedic critique of aesthetic theories from a Wittgensteinian perspective, will be enlightening to aesthetic theorists who want to know, not what Wittgenstein said about art, but what the relevance of his work is to their use of language as a point of reference for interpreting art."--Choice "In a series of acute arguments, Hagberg dismantles the region of grand aesthetic theory that defines art in the terms philosophy has traditionally used to define language. . . . Written with excellence in argumentation, judiciousness, and a capacious knowledge of Wittgenstein."--Daniel Herwitz, Common Knowledge "A clear and intelligent book. Hagberg's strategy is to show the consequences of holding a Wittgensteinian view of language and mind for aesthetic theories which are either based on, or analogous to, other non-Wittgensteinian positions about language and mind. This is an important project."--Stanley Bates, Middlebury College | ||
Reviews | ||
A beautifully written book, true to Wittgenstein's method. I can't claim to have read everything there is about Wittgenstein, or even half. But as a long time reader of Wittgenstein and his various explicators, I urge anyone interested in W. to purchase this book. The author writes with *very* unusual clarity; so many books about Wittgenstein are written poorly--suffering from wordiness, clumsy syntax, logical confusions, etc. There's something about W. that brings out the worst in many explicators, and that "something" is (typically) the attempt to find a general "method" or grand, overarching "principle." But to attempt such a grand, general approach is to violate, right off the bat, Wittgenstein's arguments. Professor Hagberg avoids that common trap completely. He does W. a great service by applying several of W's. key arguments to specific contexts in art criticism and aesthetics. This approach--the specific *application* of specific *arguments* in specific *contexts* is very true to W.'s approach, and it pays off beautifully in some of the most lucid writing about W. (or philosophical matters generally) that you'll ever come across. Finally, this is a terrific book for both beginners and veterans of W. It's especially good for those readers who get tantalizing "glimpses" of what W. is about but who get frustrated with the often opaque, wordy, and clumsy explications of him. In conclusion: I'm not kidding or even exaggerating...this will be, for many interested in W., the very book they've been looking for but couldn't find...up to now. | ||