Abstract

The essay tackles Wittgenstein’s «aesthetics» by comparing the first with the second phase of his thinking, starting from the analysis of the House of Wittgenstein, created in the period in which he was shaping his new philosophical vision. If in the “Tractatusµ the art is conceived “sub specie aeternitatisµ, in the following period, can we outline another way of understanding aesthetics? Is it possible to look at the work through the same sense of need expressed in the Tractatus without implying a transcendental perspective?