Wittgenstein, Loos, and the Critique of Ornament
dc.contributor.author | Vrahimis, Andreas | |
dc.date.accessioned | 2023-09-25T14:17:46Z | |
dc.date.available | 2023-09-25T14:17:46Z | |
dc.date.issued | 2021-09-16 | |
dc.identifier.uri | http://hdl.handle.net/20.500.11956/183916 | |
dc.description.abstract | Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. | en |
dc.language.iso | en | |
dc.publisher | Helsinki University Press | en |
dc.publisher | Univerzita Karlova, Filozofická fakulta | cs |
dc.rights | This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. | en |
dc.rights.uri | http://creativecommons.org/licenses/by/4.0/ | |
dc.source.uri | https://estetikajournal.org | |
dc.subject | Ludwig Wittgenstein | en |
dc.subject | Adolf Loos | en |
dc.subject | Martin Heidegger | en |
dc.subject | modernism | en |
dc.title | Wittgenstein, Loos, and the Critique of Ornament | en |
dc.type | Vědecký článek | cs |
uk.abstract.en | Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. | en |
dc.publisher.publicationPlace | Praha | cs |
dc.publisher.publicationPlace | Helsinki | en |
uk.internal-type | uk_publication | |
dc.identifier.doi | 10.33134/eeja.218 | |
dc.description.startPage | 144 | |
dc.description.endPage | 159 | |
dcterms.isPartOf.name | Estetika: The European Journal of Aesthetics | en |
dcterms.isPartOf.journalYear | 2021 | |
dcterms.isPartOf.journalVolume | 2021 | |
dcterms.isPartOf.journalIssue | 2 | |
dcterms.isPartOf.eissn | 2571-0915 |
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Kromě případů, kde je uvedeno jinak, licence tohoto záznamu je This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use,
distribution, and reproduction in any medium, provided the original author and source are credited.