version of Wittgenstein’s own letters in English, in an appendix; German translations
by J. Schulte (Frankfurt am Main: Suhrkamp, 1980), 47, 22, 47, 78, respectively.
- See Briefwechsel, 78; Culture and Value, 67, 41.
11. Franz Parak, “Wittgenstein in Monte Cassino,” in Ludwig Wittgenstein,
Geheime Tagebücher, 1914–1916, ed. W. Baum (Wien: Turia & Kant, 1991), 146, 152. - See Marjorie Perloff, Wittgenstein’s Ladder: Poetic Language and the Strange-
ness of the Ordinary (Chicago: University of Chicago Press, 1996), 42–43. - Ludwig Wittgenstein, Zettel [German-English parallel text], ed. G. E. M.
Anscombe and G. H. von Wright, trans. G. E. M. Anscombe (1945–1948; Berkeley:
University of California Press, 1970). References are to numbered propositions. - Sol LeWitt, “Paragraphs on Conceptual Art,” in Art forum 5, no. 10 (summer
1967): 80. There are, of course, other important aspects of Conceptualism: see the
excellent entries on “Conceptual Art,” including the LeWitt reference, in Michael
Kelly, ed., Encyclopedia of Aesthetics, 4 vols. (New York: Oxford University Press,
1988), I: 414–27. “The grand strateg y,” writes Yair Guttmann, “was to resist the at-
tempts to sever the art object from its context” (I: 422). The relation of Joseph Kosuth
to Wittgenstein is discussed in I: 426–27. - Ludwig Wittgenstein, Wittgenstein’s Lectures, Cambridge 1932–1935; From the
Notes of Alice Ambrose and Margaret MacDonald, ed. Alice Ambrose (Chicago: Uni-
versity of Chicago Press, 1979), 13. - Ludwig Wittgenstein, Les Cours de Cambridge, 1932–1935, ed. Alice Ambrose;
trans. Elisabeth Rigal (Mauvezin, France: Trans-Europ-Repress), 26. - Ludwig Wittgenstein, Philosophical Occasions, 1912–1951 [German-English
parallel texts where appropriate], ed. James Klagge and Alfred Nordmann (India-
napolis: Hackett, 1993), 167. - Antin, “Wittgenstein among the Poets,” 263. Cf. Marjorie Perloff, “Introduc-
tion,” David Antin, Talking (1972; Elmwood Park, IL: Dalkey Archive, 2001), iv–v. - The Larousse de¤nes a lipogram as “a literary work in which one compels
oneself strictly to exclude one or several letters of the alphabet.” See Harry Mathews,
in Harry Mathews and Alistair Brotchie, eds., Oulipo Compendium (London: Atlas,
1998), 174–75. - Warren F. Motte Jr., ed. and trans., Oulipo: A Primer of Potential Literature
(Lincoln: University of Nebraska Press, 1986), 16–17. - Jacques Roubaud, Quelque chose noir (Paris: Gallimard, 1986); Rosmarie Wal-
drop, trans., some thing black (Elmwood Park, IL: Dalkey Archive, 1990). Note that
in Waldrop’s translation, the space between “some” and “thing” (like “quelque” and
“chose”) suggests that the reference is not only to something black but to some black
thing. All further references to the poetic sequence are to these two texts. - Jacques Roubaud, “The Oulipo and the Combinatorial Art,” in Oulipo Com-
pendium, 38. - Dante, La Vita Nuova, trans. Barbara Reynolds (Baltimore: Penguin, 1969), 29.
- See Ann Beer, “Beckett’s Bilingualism,” in T he Cambridge Companion to Beck-
ett, ed. John Pilling (Cambridge, Eng.: Cambridge University Press, 1994), 209–21.
278 Notes to Pages 66–80