Ludwig Wittgenstein died in Cambridge on April 29, 1951, at the home of his friend Dr. Bevan, unable to do as he would have liked, as a lay brother in a Dominican convent in the Midlands. Exiled in himself, locked in his skin as he used to say, his last words, addressed to Mrs. Bevan, were: “Tell them that my life has been wonderful.”
He who dedicated his life to the task of thinking knew the ghosts of insanity, poverty (having been one of the richest men in Europe), loneliness and suicide; revolutionized western philosophy twice; the first, when he was only 20 years old, and the second, in full maturity, when he was around 50. He shook the foundations and certainties of traditional philosophy, therefore, from his enunciations, philosophy and man cannot Be already thought the same way. His words were prophecies of new times, of new ways of understanding the human being, language and thought, reason and meaning. With the openness that his work implies, traditional-style philosophical theory, universal and transcendental paradigms, certainties and unique meaning are already unacceptable. The imperatives and categorical principles come to an end. His proposal raises a definitive goodbye to the fundamentals.
For Wittgenstein, the rationality that can exist in the language entails a thousand different games and contexts, with different rules for each one. Any meaning and any meaning emanating from language is always relative, the rest is just ghosts.
His theorizing about meaning does not lead him to a new theory but, on the contrary, to the exclusion of all of them.
Wittgensteinian philosophy frees from the burdens and slavery that generate the badly posed problems that agitate the human spirit. Problems that claim, via logical arguments and extremely rationalized and closed and that at that level do not mean, in reality, nothing or have a solution or are problems or their approaches and resolutions are useful or valid.
For Wittgenstein, language consists of a thousand games, the daily use of words generates everything and any meaning in the world. Any meaning and meaning of things is always relative. He conceives philosophy as a therapy of the spirit, clarity of thoughts to achieve a peace of mind that leads to a serene coexistence in solitude.
In the words of the thinker himself: “Philosophy is an analytical and critical praxis of language, a way of life and thinking, not a doctrine.”
Philosophy, for him, is not a doctrinal body, it does not have its own language or a concrete method, it only tries, from endless questions, to clarify things by clarifying its linguistic presentation.
In 1916, without ambiguity, he declared that the first condition for philosophizing is the distrust of grammar. We see here a happy coincidence with Nietzsche’s thought, when the German philosopher, without any concession from him, stated:
“Ah, the reason, that old female liar. We will not free ourselves from God as long as we continue to believe in grammar ”(1888).
Wittgenstein’s philosophical proposal leads us to ask ourselves if when we speak in truth we say something, and if we say something in truth, what we say and from where we do it, from what linguistic game, what context, what way of life. For him, words are also actions, which denote, according to the form of linguistic expression, “specific purposes, desires or gaps.”
His works, both Tractatus and Investigations raise a deep questioning of the potentialities of reason, which in some way prolongs the advent of the acute criticism that reason, certainty, unique sense, centrality and fixedness has undertaken. postmodern thinking
Perspectives of Linguistic Games
The Linguistic Games contemplate rhymes, poems, jokes, tongue twisters, riddles, sayings, retahols and dramatizations , among others.
Rhyme is the repetition of the tonic syllable at the end of two or more verses. Rhyme has to do with sound, not spelling. Rhyme is considered an important element that gives rhythm to a poem. It is defined as the repetition of sounds from the last accented vowel of each verse. The structure of the rhyme is not so precise, it can be arranged in stanzas, as you usually see it in the order given to the verses in the songs or poems.
Poetry is a literary genre, in which the fundamental thing is the expression, which can be for example: of feelings, sensations, thoughts, or events, trying to shock the reader, and using resources, a rich vocabulary, metric and in Some cases rhyme.
The joke is a sharp and funny saying or occurrence. It is a short series of words or a small story spoken or written for comic, ironic or burlesque purposes, contains a verbal or conceptual game capable of moving to laughter. Many times it is presented illustrated by a drawing, and may consist only of this.
Tongue twisters are both a type of popular literature Oral nature In particular it serves to make one wrong on several occasions the people who pronounce it cannot do it and there the pronunciation conflict develops.They are usually word games that combine similar phonemes, and are often created with alliterations and rhymes with two or three sound sequences.
It is a type of riddle whose statement is formulated in rhyme.These are simple riddles aimed at the public in which you have to guess fruits, animals, everyday objects, etc. By targeting children, they have an educational component by representing a fun way to learn words and traditions.
A saying is a popular and anonymous saying of sententious character. It is a form of popular wisdom that belongs to the paremiological genre, as well as maxims, aphorisms, and adages, among others. It is used both in colloquial speech and in literary language.
They are children’s expressions that are repeated in games and in children’s daily relationships. They belong to the popular oral tradition, so there are many differences from one country to another and within the same country from one region to another. There are many types: to circumvent games, to heal a wound, to answer a child who insults or does not invite or calls you a liar, etc.
It is the action and effect of dramatizing. This verb, in turn, refers to giving dramatic form and conditions or exaggerating with affected appearances. A dramatization is, in general, a representation of a certain situation or fact. The dramatic is linked to drama and this to the theater: Despite the use he usually receives in everyday speech, this family of words does not necessarily refer to a tragic story.