This collection of essays looks at analytic philosophy in its historical context. It argues that analytic philosophy is in a state of crisis - having to deal with its self-image, its relationship with philosophical alternatives, its fruitfulness and even legitimacy in the general philosophical community. This crisis manifests itself both within analytic philosophy, as we can see with the discussions and debates concerning the interpretation of its origins and key players (such as Frege, Russell, Wittgenstein), as well as in its evaluation by philosophers of different bents (such as postmodernists and Continental philosophers). This book examines the the crisis with a view to interpreting it. It tells the story of analytic philosophy, presenting its "raison d'etre" and the motivations, methods, and results of its eminent figures.

Palestinian prisoners charged with security-related offences are immediately taken as a threat to Israel's security. They are seen as potential, if not actual, suicide bombers. This stereotype ignores the political nature of the Palestinian prisoners' actions and their desire for liberty. By highlighting the various images of Palestinian prisoners in the Israel-Palestine conflict, Abeer Baker and Anat Matar chart their changing fortunes. Essays written by prisoners, ex-prisoners, Human rights defenders, lawyers and academic researchers analyze the political nature of imprisonment and Israeli attitudes towards Palestinian prisoners. These contributions deal with the prisoners' status within Palestinian society, the conditions of their imprisonment and various legal procedures used by the Israeli military courts in order to criminalize and de-politicize them. Also addressed are Israel's breaches of international treaties in its treatment of the Palestinian prisoners, practices of torture and solitary confinement, exchange deals and prospects for release. This is a unique intervention within Middle East studies that will inspire those working in human rights, international law and the peace process.

Modernism can be characterised by the acute attention it gives to language, to its potential and its limitations. Philosophers, artists and literary critics working in the first third of the twentieth century emphasized language s creative potential, but also stressed its inability to express meaning completely and accurately. In particular, modernists shared the belief that the kind of truth sub specie aeterni that was sought by philosophers was either meaningless or was more appropriately expressed by the arts especially by literature and poetry. Modernism and the Language of Philosophy addresses the challenge this belief presented to philosophy, and argues that the modernist assumption rests upon a host of unacknowledged, repressed or denied dogmas or tacit images.

Drawing in particular upon the work of Michale Dummett and Jacques Derrida, this book explores a new solution to this crisis in philosophical language, and it is these two philosophers who drive the narrative of the book and offer perspectives through which both past and present day philosophers are examined.

This unique collection looks at analytic philosophy in its historical context. Prominent philosophers discuss key figures, including Russell and Wittgenstein, methods and results in analytic philosophy to present its story. This volume assesses the challenge posed by changing cultural and philosophical trends and movements.

The Poverty of Ethics stands the usual moral-political dichotomy on its head. It argues that moral principles do not in fact underlie or inform political decisions. It is, rather, the conceptual primacy of political discourse that rescues ethics from its poverty. Our ethical convictions receive their substance from historical narratives, political analyses, empirical facts, literary-educational models, political activity and personal experience. Yet morality, essentially, doesn't leave room for relativity: not every ethos deserves to be titles 'moral'. Hence the book argues further, it is the left ethos, as it has evolved over years, which forms the basis for ethics: morality is left-wing! Clarifying and justifying this seemingly odd statement is the main purpose of this essay. Appealing to philosophical ideas on the essence of language, on meaning, on understanding and persuasion, this book scrutinizes the system of concepts and attitudes informing our common view of the relationship between the moral and the political. It argues that the traditional conception of morality is far too narrow to form a basis for political thought and political action. Its carefully unfolded argument concludes that none of the current philosophical accounts of morality can be translated into terms of political will, much less into direct political action. Being too general and elastic, neither abstract moral principles, ethical-aesthetic sensibilities, nor the ethical demand emanating from an Other, can fulfill these tasks. Instead, the false primacy of the ethical over the political and the infinite flexibility of vacuous moral discourse are often mobilized to launder wrongs and delegitimize radical left politics. Gratification of the moral high ground becomes an implement of de-politicization, and thus a powerful political instrument in the hands of those seeking to shore up the existing order.

Analysis and interpretation of the philosophy of Michael Dummett (1925).

In the last half-century Ludwig Wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged. Wittgenstein's Tractatus Logico-Philosophicus was published in 1922 - the annus mirabilis of modernism - alongside Joyce's Ulysses, Eliot's The Waste Land, Mansfield's The Garden Party and Woolf's Jacob's Room. Bertolt Brecht's first play to be produced, Drums in the Night, was first staged in 1922, as was Jean Cocteau's Antigone, with settings by Pablo Picasso and music by Arthur Honegger. In different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. Wittgenstein's Tractatus can be read as defining, expressing and reacting to this crisis. In his later philosophy, Wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. If the gist of modernism is self-reflection and attention to the way form expresses content, then Wittgenstein's later ideas - in their fragmented form as well as their "ear-opening" contents - deliver it most precisely. Understanding Wittgenstein, Understanding Modernism shows Wittgenstein's work, both early and late, to be closely linked to the modernist Geist that prevailed during his lifetime. Yet it would be wrong to argue that Wittgenstein was a modernist tout court. For Wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. It needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. It is such a vision of the linkage between Wittgenstein and modernism that guides the present volume.

In the last half-century Ludwig Wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged. Wittgenstein's Tractatus Logico-Philosophicus was published in 1922 - the annus mirabilis of modernism - alongside Joyce's Ulysses, Eliot's The Waste Land, Mansfield's The Garden Party and Woolf's Jacob's Room. Bertolt Brecht's first play to be produced, Drums in the Night, was first staged in 1922, as was Jean Cocteau's Antigone, with settings by Pablo Picasso and music by Arthur Honegger. In different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. Wittgenstein's Tractatus can be read as defining, expressing and reacting to this crisis. In his later philosophy, Wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. If the gist of modernism is self-reflection and attention to the way form expresses content, then Wittgenstein's later ideas - in their fragmented form as well as their "ear-opening" contents - deliver it most precisely. Understanding Wittgenstein, Understanding Modernism shows Wittgenstein's work, both early and late, to be closely linked to the modernist Geist that prevailed during his lifetime. Yet it would be wrong to argue that Wittgenstein was a modernist tout court. For Wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. It needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. It is such a vision of the linkage between Wittgenstein and modernism that guides the present volume.