Kant, Wittgenstein, and the Performativity of Thought (eBook, PDF)
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This book explores the idea that there is a certain performativity of thought connecting Kant's Critique of Pure Reason and Wittgenstein's Tractatus Logico-Philosophicus. On this view, we make judgments and use propositions because we presuppose that our thinking is about something, and that our propositions have sense. Kant's requirement of an a priori connection between intuitions and concepts is akin to Wittgenstein's idea of the general propositional form as sharing a form with the world.Aloisia Moser argues that Kant speaks about acts of the mind, not about static categories. Furthermore,...
This book explores the idea that there is a certain performativity of thought connecting Kant's Critique of Pure Reason and Wittgenstein's Tractatus Logico-Philosophicus. On this view, we make judgments and use propositions because we presuppose that our thinking is about something, and that our propositions have sense. Kant's requirement of an a priori connection between intuitions and concepts is akin to Wittgenstein's idea of the general propositional form as sharing a form with the world.
Aloisia Moser argues that Kant speaks about acts of the mind, not about static categories. Furthermore, she elucidates the Tractatus' logical form as a projection method that turns into a so-called 'zero method', whereby propositions are merely the scaffolding of the world. In so doing, Moser connects Kantian reflective judgment to Wittgensteinian rule-following. She thereby presents an account of performativity centering neither on theories nor methods, but on the application enacting them in the first place.
Aloisia Moser argues that Kant speaks about acts of the mind, not about static categories. Furthermore, she elucidates the Tractatus' logical form as a projection method that turns into a so-called 'zero method', whereby propositions are merely the scaffolding of the world. In so doing, Moser connects Kantian reflective judgment to Wittgensteinian rule-following. She thereby presents an account of performativity centering neither on theories nor methods, but on the application enacting them in the first place.
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