This is a concise and readable study of five intertwined themes at the heart of Wittgenstein's thought, written by one of his most eminent interpreters. David Pears offers penetrating investigations and lucid explications of some of the most influential and yet puzzling writings of twentieth-century philosophy. He focuses on the idea of language as a picture of the world; the phenomenon of linguistic regularity; the famous "private language argument"; logical necessity; and ego and the self.

A unique treatment of the key influences on the life of this important Australian composer, consisting of oral histories by people who knew Grainger, as well as reflections from his own writings. Percy Grainger [1882-1961] was a pianist, composer, ethnographer, essayist, and much more. The Australian-American musician aspired to the condition of a polymath, with strong interests in language, culture, ecology and technology. In an age of increasing specialisation Grainger held to a breathless all-roundedness. This book looks at the scrabbling diversity of Grainger's life through the eyes of others. Family and friends, pupils, musical associatesand chance acquaintances recall their experiences of Percy Grainger from his boyhood in colonial Australia, through his conservatorium years in Germany, on to his early professional years in London, and further to the zenith of his career and then years of decline in the United States. In the final chapter, Grainger himself explains the driving passions of his life. Fifty illustrations, including architectural drawings, scores and machine plans, vividly depict the enthusiasms described in over ninety recollections of Grainger. A composer of over four hundred compositions and virtuoso performer in some three thousand concerts, Grainger left a large legacy. He was an importantinfluence upon the folk-song movement in Britain, and, through such masterworks as Lincolnshire Posy, he was enduringly popular with the band movement in America. On a personal level, his development of the language of "blue-eyed English" was stillborn, and his muscular style of pianism found few adherents among the next generation of performers. His frankly expressed views on sexual licence were also many decades ahead of their time. Today, however, Grainger the musician is again in the ascendant. His more innovative works are gaining a belated hearing, while his standards, such as Country Gardens, remain firm favorites. Malcolm Gillies and David Pear areco-editors of Grainger on Music and 'The All-Round Man': Selected Letters of Percy Grainger, 1914-1961

An introduction to the work of the philosopher, Ludwig Wittgenstein. It analyzes Wittgenstein's two major works, the Tractatus Logico-Philosophicus and the Philosophical Investigation, and sets his conclusions against the background of changes in the nature of philosophy in the 20th century.

'Beautifully strange ... an icy, gnomic, compact work of mystical logic.' - Steven Poole, Guardian

Shortly before his death, Percy Grainger (1882-1961) lodged over twenty unpublished sketches in his Australian Museum. Self-Portrait of Percy Grainger draws exclusively from these sketches, revealing for the first time an illuminating portrait of the composer's life. With such titles as "The Aldridge-Grainger-Strom Saga," "Thunks," "Ere-I-Forget," "The Love-Life of Helen and Paris," and "Anecdotes," these manuscripts were intended as precursors to Grainger's autobiography, My Wretched Tone-Life, which he only commenced in his final years. Expertly shaping these sketches, the editors have created a "self-portrait" along the lines that Grainger himself had intended.
The volume first introduces Grainger's forebears, parents, friends, wife, and himself before moving on to his views on composition, performance, and the musical world. In these sketches, Grainger addresses such topics as racial and national identity, the meaning of work, physical culture, language reform, sexual practice, and artistic patronage. Grainger also probes the nature of musical genius, discussing a broad range of composers including Igor Stravinsky, Thomas Beecham, Frederick Delius, Edvard Grieg, Charles Stanford, Cyril Scott, Fritz Kreisler, Donald Tovey, Ferruccio Busoni, and Balfour Gardiner. Among the works of his own that Grainger most featured are his The Warriors --Music for an Imaginary Ballet, Colonial Song, the Lincolnshire Posy series of band pieces, his greatest "hit" Country Gardens, and his many settings of English folk-music.
Written in Grainger's own self-created "Nordic English" as well as translated from Danish, the language of his most intimate confessions, Self-Portrait of Percy Graingersheds light on some of the most revealing details of the composer's life. The sketches trace Grainger's changing self-perception, from the romantically tinged, even lustful, views of his forties and fifties, through a period of wistfulness in his sixties, to the bitterness and self-loathing of his old age. The volume also includes several of Grainger's own drawings as well as both public and private photographs. A fascinating and revealing collection of vignettes, this extraordinary book will appeal to instructors, students, and enthusiasts in musicology, music history, cultural studies, and Australian, British, and American history.

In this compelling analysis David Pears examines the foundations of Hume's theory of the mind as presented in the first book of the Treatise. Past studies have tended to take one of two extreme views: that Hume relies exclusively on a theory of meaning, or that he relies exclusively on a theory of truth and evidence. Steering a middle course between these positions, Pears argues that Hume's theory of ideas serves both functions. He examines in detail its application to three difficult problems: causation, personal identity, and sense perception. Hume's solutions, Pears argues, are not theories that can be given a place in standard classification of philosophical theories, but rather depend upon a subtle form of naturalism not altogether unlike Wittgenstein's naturalism. A clearly written and argued study, Hume's System will be of special interest to students and scholars of the history of philosophy.

Paradox and Platitude in Wittgenstein's Philosophy is a concise and readable study of five intertwined themes at the heart of Wittgenstein's thought, written by one of his most eminent interpreters. David Pears offers penetrating investigations and lucid explications of some of the most influential and yet puzzling writings of twentieth-century philosophy. He focuses on the idea of language as a picture of the world; the phenomenon of linguistic regularity; the famous "private language argument"; logical necessity; and ego and the self.

Percy Grainger was one of the most colourful of this century's cultural figures. As a pianist and largely self-taught composer he was feted in the 1910s and 1920s, and is probably still best known for the work he `dished up' in many different guises, Country Gardens. But Grainger aspired to the role of `the all-round man' and nourished ideas, some brilliant, others ludicrous, across the full range of human endeavour: race, nationality, sex, language, life-style, food, clothes, technology, ecology. The All-Round Man depicts that scrambling diversity through seventy-six uninhibited letters from Grainger's `American' years, 1914-61. These letters are fascinating to read: they are cultivated `rambles' (as Grainger actually called several of his compositions), not dissimilar to today's telephone conversations. Often written in Grainger's crunchy `Blue-eyed English', they explore uninhibitedly every corner of his public and private life. They reflect the magnificent attempts of a great but flawed mind to encompass the world. From the letters: `Personally I do not feel like a modern person at all. I feel quite at home in South Sea Island music, in Maori legends, in the Icelandic Sagas, in the Anglo-Saxon `Battle of Brunnanburh', feel very close to Negroes in various countries, but hardly understand modern folk at all.' `Music seems almost to have a "surface", a smooth surface, a grained surface, a prickly surface to the ear. All these distinguishing characteristics (roughly hinted at in the above silly similes) are to me the "body of music" are to music what "looks", skin, hair are in a person, the actual stuff and manifestation whereby we know it and recognize it' `You said that too much such treatment annoyed, nerveteased you. Then let me thus tease you while you punish me for the annoyance I give you: Let me lay my weight upon, momi-ing at yr heavenbringing uma, while you thrash my bottom, back & legs in rising annoyance'

In this compelling analysis David Pears examines the foundations of Hume's theory of the mind as presented in the first book of the Treatise. Past studies have tended to take one of two extreme views: that Hume relies exclusively on a theory of meaning, or that he relies exclusively on a theory of truth and evidence. Steering a middle course between these positions, Pears argues that Hume's theory of ideas serves both functions. He examines in detail its application to three difficult problems: causation, personal identity, and sense perception. Hume's solutions, Pears argues, are not theories that can be given a place in standard classification of philosophical theories, but rather depend upon a subtle form of naturalism not altogether unlike Wittgenstein's naturalism. A clearly written and argued study, Hume's System will be of special interest to students and scholars of the history of philosophy.

This is the second of two volumes which describe the development of Wittgenstein's philosophy from the "Notebooks" and the "Tractatus" to "Philosophical Investigations" and his other later writings. This volume covers his later philosophy from 1929 onwards. It traces two lines of thought, one starting from the treatment of solipsism in the "Tractatus" and the other developing out of the early theory of language proposed in that book. The work as a whole is designed to fill a gap in the literature on Wittgenstein, and the doctrines and ideas chosen for close discussion are those which the author believes reveal the general structure of Wittgenstein's thought. Pears aims to relate the general to the particular within a clearly delineated framework, thereby hoping to make Wittgenstein more accessible to students of philosophy and to non-specialists. Volume I and II form a continuous study of Wittgenstein's philosophy, but they are designed to be read independently of each other.

This is the first of two volumes which describe the development of Wittgenstein's philosophy from the Tracatus to his later writings. Part I of this volume is a survey of the whole of his work; Part II is a detailed examination of the central ideas for his early system. The second volume will cover later philosophy. The book fills a gap in the literature on Wittgenstein between brief introductions and detailed commentaries. Although necessarily selective, the doctrines and ideas chosen for detailed discussion are those which reveal the general structure of Wittgenstein's work. David Pears has taken full account of the origins of Wittgenstein's philosophy and its relation to the philosophies of his predecessors and contemporaries. But the author's main emphasis is on the internal organization of Wittgenstein's thought. Philosophy students concentrate on the details of his work but often find it difficult to see their place in the general pattern. This book presents the general and the particular within a relatively constant framework, thereby making Wittgenstein's thought more accessible to students of philosophy and to non-specialists. This book is intended for students of philosop