Philosophical Grammar by Ludwig Wittgenstein

By Ludwig Wittgenstein

In 1933 Ludwig Wittgenstein revised a manuscript he had compiled from his 1930-1932 notebooks, however the paintings as a complete used to be no longer released until eventually 1969, as Philosophische Grammatik. This first English translation basically finds the vital position Philosophical Grammar occupies in Wittgenstein's notion and gives a hyperlink from his previous philosophy to his later views.

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Extra info for Philosophical Grammar

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Here too it is imaginable that the first of the sentences might be understand in the way one would normally understand a sentence Can one say that the word "red" needs a supplement in memory in order to be a usable sign? If I use the words "there is a red book in front of me" to describe an experience, is the justification of the choice of these words, 94 95 like "paint a colour somewhat lighter than the one you remember seeing there". On the other hand the man ordered to paint the shade of colour in accordance with the sample will usually be in no doubt about the method of projection.

Certainly there is such a procedure as choosing the colour which occurs to you when you hear that word. And the sentence "red is the colour that occurs to you when you hear the word 'red' " is a definition. If I say, "a symbol is something which produces this effect" the question remains: how can I speak of "this effect"? " But this explanation does not get to the root of our dissatisfaction. e. re to do when we're told to compare? In our language one of the functions of the word "red" is to call that particular colour to mind; and indeed it might be discovered that this word did so better than others, even that it alone served that purpose.

Imagine a man who claimed to be able to copy shades of red into green, who fixed his eye on a red sample and with every outward sign of exact copying mixed a shade of green. For us he would be on a par with someone who listened carefully and mixed colours in accordance with notes on a violin. In such a case we'd say "I don't know how he does it"; not because we didn't understand the processes in his brain or in his muscles, but because we don't understand what is meant by "this shade of colour is a copy of this note on the violin".

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