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By Michael Kober

This quantity is of curiosity for a person who goals at figuring out the so-called 'later' or 'mature' Wittgenstein. Its contributions, written via best German-speaking Wittgenstein-scholars like Hans Sluga, Hans-Johann Glock, Joachim Schulte, Eike von Savigny, and others, supply deeper insights to possible good mentioned subject matters, resembling family members resemblance, ?bersicht (perspicuous representation), faith, or grammar, or they clarify in an eye-opening style hitherto enigmatic expressions of Wittgenstein, comparable to 'The pneumatic notion of suggestion' (PI §109), 'A mathematical facts has to be surveyable' (RFM III §1), or 'On this a curious comment through H. Newman' (OC §1).

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For only a scene of a coitus a tergo, be it between humans or animals, can have been repeated in the dream and can have the nachträgliche traumatic effect of a phobic fear of wolves. 3 Neither in the case of Emma nor of the Wolfman have the different scenes, considered in isolation, a traumatic content. As they happened, neither the sexual attack of the shopkeeper on Emma nor the Wolfman’s parents having sex were understood as being of a sexual nature. Furthermore, the later scenes in the clothing shop and the Wolfman’s dream had no sexual content at all.

2 In a journal kept in 1931 Wittgenstein wrote down a few points that had struck him in the course of his by no means uncritical reading of Spengler’s work. In this context, he places himself in the same group as 1. At this point as well as in the remainder of this paper, I heavily rely on an as yet unpublished article by McGuinness on “What Wittgenstein Owed to Sraffa”. Many of the following remarks were inspired by comments made by McGuinness. On the other hand, I am by no means sure that McGuinness would agree to every aspect of the occasionally very speculative interpretation I am going to suggest.

In Spengler’s chief work The Decline of the West the notion of pneuma plays a considerable role. Even a superficial reading will easily reveal more than the eleven passages referred to in the book’s index. At one place Spengler points out that Chrysippus was of the opinion that the divine pneuma is a kind of body (Spengler 1972, 229). In the context of contrasting the “Faustian” concept of the soul with the “Apollonian” concept he makes a distinction between “soul space” (Seelenraum) and “soul body” (Seelenkörper) and suggests that the strikingly rigid gaze of people represented by Byzantine works of art was meant to portray their participating in divine pneuma (Spengler 1972, 389–91).

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