Il saggio intende mostrare l’irriducibile articolazione tra etica ed estetica quale condizione dell’esperienza architettonica, tanto della sua produzione quanto della sua fruizione. Per questo è necessario decostruire la tradizione classica nella quale la dimensione estetica dell’architettura è abitualmente ridotta alla ricerca di ordine, misura e proporzione. Da un punto di vista fenomenologico, la dimensione estetica di un’opera architettonica ha a che fare con un’esperienza dello spazio emotiva, sensibile, che presuppone lo spazio quale elemento del nostro abitare sulla terra, e cioè, (...) seguendo Heidegger, quale condizione irriducibile del nostro ethos. L’autore ricorre all’esempio del Mémorial des Déportés di Parigi per mostrare le radici etiche dell’esperienza esistenziale dell’architettura. In questa prospettiva, l’autore richiama l’eredità di Henry Maldinay, con particolare attenzione ai contributi di quest’ultimo alle attività della rete francese PhilAU (Philosophie, Architecture, Urbain). (shrink)

Machine generated contents note: Introduction Henry Somers-Hall; 1. Deleuze and the history of philosophy Daniel W. Smith; 2. Difference and repetition James Williams; 3. The Deleuzian reversal of Platonism Miguel Beistegui; 4. Deleuze and Kant Beth Lord; 5. Phenomenology and metaphysics, and chaos: on the fragility of the event in Deleuze Leonard Lawlor; 6. Deleuze and structuralism François Dosse; 7. Deleuze and Guattari: Guattareuze and Co. Gary Genosko; 8. Nomadic ethics Rosi Braidotti; 9. Deleuze's political philosophy Paul Patton; 10. (...) Deleuze, mathematics, and realist ontology Manuel Delanda; 11. Deleuze and life John Protevi; 12. Gilles Deleuze's aesthetics of sensation Dorothea Olkowski; 13. Deleuze and literature Ronald Bogue; 14. Deleuze and psychoanalysis Eugene Holland; 15. Deleuze's philosophical heritage: unity, difference, and onto-theology Henry Somers-Hall. (shrink)

Mysticism and life. Religious relationship in Michel Henry’s phenomenologyThis article discusses the concept of mysticism in the phenomenology of Michel Henry, which involves the relationship of life and the living, as set against two opposing views on the connection of life to the living: Arthur Schopenhauer’s naturalistic philosophy of life and the religious doctrine of Master Eckhart. In the first approach, life is identical with the will to live, a natural force inherent to everything that is alive. In (...) the other one, life is identified with the Christian God, encompassing all individual livings and constituting the foundation for all creation existing out of him. Hermeneutic analyses carried out in the article consider those texts by Michel Henry which comment on the works of Master Eckhart and Schopenhauer and provide for his own interpretations of them. They aim to show that Henry’s thought involves the religious understanding of mysticism as pertaining to the connection of life and the living identified with the relationship of God and humans. Moreover, the mysticism of life should be distinguished from Schopenhauer’s naturalistic metaphysics of life, while its main inspiration are the Christian teachings of Master Eckhart, therefore the former may be considered as one of the interpretations of the latter. Irrespective of its Christian background, Henry’s thought can be also of interest to non‑Christians, as it presents a way of accessing life through the experience of a living body underlying self‑affectivity, largely forgotten in modern times but which can be revived by communing with art, because aesthetic experience is one of the forms of feeling one’s own being. In Henry’s thought, aesthetics, ethics and religion are closely interrelated, providing an effective remedy for the contemporary cultural crisis. (shrink)

Alongside with ethics and religion, art occupies a prominent place in Michel Henry’s phenomenology of life. His opposition to Husserl and Heidegger, and his analyses of Wassily Kandinsky’s paintings and theoretical works, led Henry to the conclusion that the content of art is the ‘invisible life’. As a consequence, art – itself invisible though at the same time revealing the Life – becomes a means of achieving a non-intentional experience (pathos) of Life in its transcendental affectivity. The radical (...) immanence of experiencing art stands in sharp contrast to the visible external world, thus opening new directions in phenomenological study of both aesthetic and religious experience. In this article, I point out the ontological, epistemological and axiological limitations of Henry’s and Kandinsky’s art theory. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics As First EthicsLevinas and the Alterity of Literary DiscourseHenry McDonald (bio)1Notwithstanding the considerable amount of scholarly attention paid since the 1980s to Emmanuel Levinas’s ethical philosophy of “the other,” critics and theorists have generally approached the relation between ethics and aesthetics in his work warily. Although readings of poetry and fiction inspired by Levinas’s philosophy continue to grow at a rapid rate, arguments applying that philosophy to literary (...) and aesthetic theory have been few and tentatively advanced. Some critics have contended that Levinas was something of a Platonic moralist who “disparaged” and “denounced” art and literature as failing to conform to his idea of what was “ethical.”1 If there is a critical consensus on the issue, it would seem to be that Levinas believed that art and ethics are incompatible.2Based on the aesthetic writings that Levinas produced over a four-decade period, as well as on the role literature played in the genesis and development of his ethical philosophy, such assessments seem puzzling. A Lithuanian Jew who studied with Husserl and Heidegger in 1929–30, Levinas (1906–95) came to philosophy initially through literature, especially Russian literature and Shakespeare: “the whole of philosophy,” he said, “is only a meditation of Shakespeare.”3 In the first work of his philosophical maturity, Existence and Existents (1947), discussions of aesthetics and literature introduce and develop the notion of being as il y a (there is), an account which, in giving emphasis [End Page 15] to being’s “horror” (horreur), simultaneously critiques ontology and places ethics on a tragic basis.4 The il y a, along with its temporal counterpart, the entretemps (between times), introduced just one year later in “Reality and Its Shadow” (1948), are of particular importance to his writings on aesthetics, produced during a period from the 1940s through the 70s.5 The latter provide abundant evidence of the potential for ethical meaning, indeed transcendence, he attributed to the artwork, as in “The Poet’s Vision” (1956), in which he asserts: “Literature is the unique adventure of a transcendence beyond all the horizons of the world... the authenticity of art must herald an order of justice” [“The Poet’s Vision” 134, 137]. Although Levinas never completed anything approximating a “system of aesthetics,” it is nonetheless true that in pieces ranging from developed essays on literary theory and aesthetics to brief commentaries on dozens of literary figures and works, he gave substantive indications of the ways in which his radically nonconceptual, nonontological account of ethics might alter our understanding of the status of “the literary artwork.”Most crucial among those indications is the close connection he posited between the alterity, or otherness, of the artwork and its tragic nature, which he defined in terms of his antiontological accounts of “being” and especially “time” (entretemps, “between times”). As early as “Reality and Its Shadow,” Levinas proposed the thesis, extended in his later essays, that the alterity of art and literature was located not in any ontological or conceptual “beyond”—in a spiritual dimension “which sets itself up as knowledge of the absolute” [1]—but in the “interstices” of language [3], in the “between times” (entretemps) of its modes of temporality: which can be accessed only by way of “the tragic” in art. Time in Levinas’s aesthetics is signified diachronically, from within a region of diaspora. What Levinas terms “alterity,” or otherness, points not toward a privileged, interpersonal dimension freed from the problematics of modernity, but strives to expose the complicity between the West’s concept of rationality and its history of barbarism exemplified by the Holocaust, its history, as Levinas put it, of “National Socialism, Stalinism, the camps, the gas chambers, nuclear weapons, terrorism and unemployment.”6 Art and literature demonstrate a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity.A central aspect of such an aesthetics is its privileging of music and musicality, which Levinas shares with a more recent thinker and critic, Paul Gilroy.7 Like Gilroy, Levinas deploys “musicality,” which he characterizes as “writing in its significance without signifiers” [157] not just to “refute,” as Gilroy... (shrink)

The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its (...) containing many interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture.By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. (shrink)

This is the first comprehensive study of the sublime in Lucan. Drawing upon renewed literary-critical interest in the tradition of philosophical aesthetics, Henry Day argues that the category of the sublime offers a means of moving beyond readings of Lucan's Bellum Civile in terms of the poem's political commitment or, alternatively, nihilism. Demonstrating in dialogue with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continuing vitality of Longinus' foundational treatise On the Sublime, Day charts Lucan's complex (...) and instructive exploration of the relationship between sublimity and ethical discourses of freedom and oppression. Through the Bellum Civile's cataclysmic vision of civil war and metapoetic accounts of its own genesis, through its heated linguistic texture and proclaimed effects upon future readers and, most powerfully of all, through its representation of its twin protagonists Caesar and Pompey, Lucan's great epic emerges as a central text in the history of the sublime. (shrink)

This essay first contextualizes Adorno's essays in literary criticism in relation to his historico‐philosophical account of modern rationalization and late capitalism, his dialectical theory of culture, and his return to postwar Germany. It then presents the neo‐Marxist and formalist principles that inform his literary criticism, emphasizing the artwork's critical relationship to society, on the one hand, and the theory of aesthetic experience undergone by the artwork's recipient on the other. These principles are exemplified in selective readings of Adorno's essays on (...) Heinrich Heine and Friedrich Hölderlin. The essay concludes by polemically juxtaposing Adorno's practice of literary criticism with that of neo‐Aristotelian “ethical criticism.”. (shrink)

Biomimicry—the imitation of nature—is an increasingly popular approach to innovation. In its contemporary form, it aims to imitate only the functional features of natural entities (how they work), not their aesthetic ones (what they look like), conceptualizing the latter as a separate design approach: bio-morphism. In keeping with this, philosophers have analysed biomimicry in relation to four mains branches of philosophy: ontology, philosophy of technology, ethics, and epistemology—but not aesthetics. Drawing on recent research into the concept of aesthetic sustainability, as (...) well as the biophilia hypothesis and the field of evolutionary aesthetics, I argue that this neglect or exclusion of aesthetics is problematic. This argument is then further explored and developed in the context of three specific fields of innovation: plant-based meat alternatives (PBMAs) and artificial meat; biomimetic urban design; and ecological art. (shrink)

This work, edited by Henry Rosemount, Jr, is Volume I in the series of "Critics and Their Critics". Angus C. Graham is the leading translator and interpreter of Chinese philosophical texts; he has written philosophical works of his own, he has written at length and in detail on early Chinese grammar and philology, he has translated Chinese poetry, and he has published some of his own poetry. Graham's polymathic achievement explains the polygenous nature of his collection, which has some (...) essays ranging broadly over aesthetics, ethics, religion, and epistemology; others providing concentrated discussion of specific problems in early Chinese syntax, semantics, etymology, and paleography; and yet others being admixtures, moving by turns through etymology, epistemology, and problems of the translation, interpretation, and dating of Chinese texts. (shrink)

This article draws on the profound affinities between the thought of Levinas and Nietzsche to argue that aesthetics plays a major role in Levinas's ethical philosophy. As in the case of Nietzsche, who called himself “the first tragic philosopher,” aesthetics gives reference to the tragic, yet affirmative content of Levinas's ethics. For both, what Levinas calls the “alterity,” or otherness, of art and literature is located not in an ontological or conceptual “beyond”—in a “spiritual” dimension “which sets itself up as (...) knowledge of the absolute”—but in the “interstices” of language, in the “between times” (entretemps) of its modes of temporality: which can only be accessed by way of “the tragic” in art. Alterity signifies not a privileged, interpersonal dimension freed from the problematics of modernity, but points to the complicity between the West's concept of rationality and its history of barbarism exemplified by the Holocaust. The artwork for Levinas is at once temporally diachronic and spatially diasporic, a region of im powerment that is precisely lacking in the expressive or imaginative em powerment normally attributed to the artwork, but which demonstrates a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity. (shrink)

This volume draws together leading theologians and Christian ethicists from across the globe to critically engage with and reflect upon Gerald McKenny, widely acknowledged as one of the most original and important Christian ethicists working today. The essays highlight the significance of McKenny's interventions with a range of important debates in contemporary theological ethics, ranging from analyses of the Protestant conception of grace to bioethics and medicine. The Ethics of Grace is the first volume to facilitate critical engagements with a (...) number of key themes in McKenny's work, not in the least his interpretation of Karl Barth. Among the contributions, Jennifer Herdt discusses McKenny's Barthian interest in the relationship between nature and grace; Angela Carpenter uses his Barthian understanding of grace and human action as a framework to discuss Jonathan Edwards; Stanley Hauerwas pushes McKenny's theology beyond Barth. Economic, political, and technological themes are also discussed in depth, for instance in Robert Song's chapter on the phenomenology of biotechnological enhancement. Reaching far beyond the work of Gerald McKenny, this multifaceted volume is a high-level resource for students and scholars of theological and philosophical ethics. (shrink)

Facelifts, tummy tucks and breast enlargements are no longer the privilege of the rich and the famous. Any woman can have all these and many more cosmetic surgical treatments, and an increasing number of women do. Are they having cosmetic surgery because they are duped by a male-dominated beauty system, or do they genuinely choose these operations themselves? Feminists give diametrically opposed answers to this question. At the heart of the controversy, or so I claim in this article, lies a (...) conceptual problem about free choice; therefore, the only thing that can settle it is a conceptual analysis of “freedom”. After having briefly outlined the views of both sides of the debate, I offer such an analysis. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable experiences, while (...) the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

In Voir l'invisible Michel Henry applies his philosophy of autoaffection (which is both inspired by, and critical of, Husserl) to the realm of aesthetics. Henry claims that autoaffection, as non-objective experience, is essential not only to self-experience, but also to the experience of objects and their qualities. Intentionality tempts us to experience objects merely from the 'outside', but aesthetic experience returns us to the inner life of objects as a lived experience. On the basis of an examination of (...) Henry's aesthetic theory in the light of Husserl's analysis of our experience of visible objects, I conclude that revisions are required in both Husserl's and Henry's approaches: Husserl's noema must be considered to be a lived-through experience, and non-objective lived-through experience must be recognized as primordial evidence; Henry's claim that intentionality makes unreal all that it objectifies must be replaced by a recognition of the interdependence between autoaffection and heteroaffection. (shrink)

Returning to the origins of education, Becoming Pedagogue explores its role in today's society by reuniting philosophy with pedagogy. It investigates the aesthetics, ethics and politics of childhood, education and what a teacher really does, enabling educators to define and perform their profession as per its historical and intellectual roots. Reflecting on the practice, science and knowledge-tradition of pedagogy as well as abstract and formalist discourse at all levels, Olsson's work evokes real and free aspects of educational experiences and events. (...) Through a close reading of French philosopher Henri Bergson's major works, historical and contemporary pedagogical resources as well as the pedagogy developed in the early childhood centres in Reggio Emilia, Italy, it develops a critical-cum-creative methodology that both analyses the present educational situation as well as creates new pedagogical alternatives. Using brand new perspectives as well as practical examples of what teachers do, Becoming Pedagogue will provide students, educators and researchers tools for critiquing simplified ideas of what a teacher is as well as giving them inspiration to experiment with alternative ways of teaching. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can be (...) represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (shrink)

This book explores Levinas’ phenomenology of ethical motivation. Levinas is grounded in “radical alterity”, the knowledge that ethics exists only when we are fully separate from someone else, allowing us to experience connection with one another. In this book, the author locates this ethics in embodiment, emotions, and imaginations and explores the intersection of aesthetics and education.

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore the effect (...) of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

Aesthetics is a central topic in the works of Jean-Luc Marion and Michel Henry. While Henry focuses on abstract art (especially Kandinsky), Marion’s writings range over the history of art, including analyses of Courbet, Rothko, and Klee. This article examines their strikingly similar aesthetic theories and shows how they are grounded in a phenomenological claim about the relation between invisible and visible, hence about phenomenality itself. The artist becomes a paradigm for phenomenological receptivity in both thinkers, and art (...) is assigned a quasi-salvific function. This raises several important questions about their theories of art. (shrink)

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of rhythm but as primary (...) resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas’s project that deals with ethical an-archaeology. Despite Levinas’s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its ethical (...) anti-aestheticism Levinas’s “noncontemporary” thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas’s emancipatory past. (shrink)

My poetized culture is one which has given up the attempt to unite one’s private ways of dealing with finitude and one’s sense of obligation to other human beings.Richard Rorty repudiated W. B. Yeats’s aspiration “to hold justice and reality in a single vision,” and he did so with relish.2 Thrilling though it is, Rorty would say, there is no need to weave into a single, coherent narrative our commitment to the end of cruelty (justice) and our idiosyncratic aesthetic tastes (...) (reality). We can affirm both principles individually—justice and reality—without concocting a “philosophy of life” (or finding a “philosophical slop-shop”3) that will draw straight lines from aesthetic obsession to justice work. Allowing .. (shrink)

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay proceeds (...) in three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (shrink)

This book is an introduction to French phenomenology in the post-1945 period. While many of phenomenology's greatest thinkers--Husserl, Heidegger, Sartre and Merleau-Ponty--wrote before this period, Steven DeLay introduces and assesses the creative and important turn phenomenology took after these figures. He presents a clear and rigorous introduction to the work of relatively unfamiliar and underexplored philosophers, including Jean-Louis Chrétien, Michel Henry, Jean-Yves Lacoste, Jean-Luc Marion and others. After an introduction setting out the crucial Husserlian and Heideggerian background to French (...) phenomenology, DeLay explores Emmanuel Levinas's ethics as first philosophy, Henry's material phenomenology, Marion's phenomenology of givenness, Lacoste's phenomenology of liturgical man, Chrétien's phenomenology of the call, Claude Romano's evential hermeneutics, and Emmanuel Falque's phenomenology of the borderlands. Starting with the reception of Husserl and Heidegger in France, DeLay explains how this phenomenological thought challenges boundaries between philosophy and theology. Taking stock of its promise in light of the legacy it has transformed, DeLay concludes with a summary of the field's relevance to theology and analytic philosophy, and indicates what the future holds for phenomenology. Phenomenology in France: A Philosophical and Theological Introduction is an excellent resource for all students and scholars of phenomenology and continental philosophy, and will also be useful to those in related disciplines such as theology, literature, and French studies. (shrink)

본 글의 목적은 후설의 윤리학적 관점에서 실러의 『미학편지』를 새롭게 분석해보는 데 있다. 윤리문제와 관계를 맺는 실러의 『미학편지』에서 드러난 논의는 후설의 윤리이론과 많은 점에서 유사성을 지니고 있다. 이러한 사실은 실제로 실러의 논의가 후설의 현상학적 윤리의 선구적인 역할을 한다고 볼 수 있다. 논문은 이를 논증하기 위해 실러와 후설의 다섯 가지 거시적 공통점을 우선적으로 밝힌다. 그 다음으로 후설의 생애의 윤리기획들이 실러의 『미학편지』 전개방식과 유사하다는 사실을 선보일 것이며, 끝으로 본 글은 실러의 『미학편지』가 후설의 현상학적 윤리를 통해서 볼 때, 다음의 다섯 가지 의미(첫째, 이성과 감정의 (...) 조화를 중시, 둘째, 인격적 자기 수양을 강조, 셋째, 변화에 대한 긍정적 태도, 넷째, 참된 교육을 지향, 다섯째, 보편성을 희구)를 내세운다는 사실을 논설할 것이다. (shrink)

I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization of art as social (...) policy -- Morality and the artist : toward an ethics of art -- Getting along beautifully : ideas for a social aesthetics. (shrink)

Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Drawing on the research of a number of disciplines, this exciting new area speaks to scholars working in a range of fields, including not only philosophy, but also environmental and cultural studies, public policy and planning, social and political theory, landscape design and management, and art and architecture. _Nature, Aesthetics, and Environmentalism: From Beauty to Duty_ addresses the (...) complex relationships between aesthetic appreciation and environmental issues and emphasizes the valuable contribution that environmental aesthetics can make to environmentalism. Allen Carlson, a pioneer in environmental aesthetics, and Sheila Lintott, who has published widely in aesthetics, combine important historical essays on the appreciation of nature with the best contemporary research in the field. They begin with classic pieces by Ralph Waldo Emerson, Henry Thoreau, John Muir, John Burroughs, and Aldo Leopold, as well as an essay by Eugene Hargrove that lays out the scientific, artistic, and aesthetic foundations of current environmental beliefs and attitudes. The second section of the book addresses prevailing views on the conceptualization of nature and the various debates on how to properly and respectfully appreciate nature. The third section introduces positive aesthetics, the belief that everything in nature is essentially beautiful, even the devastation caused by earthquakes or floods. The essays in the final section explicitly bring together aesthetics, ethics, and environmentalism to explore the ways in which each might affect the others. (shrink)

Michel Henry has renewed our understanding of life as immanent affectivity: life cannot be reduced to what can be made visible; it is – as immanent and as affectivity – radically invisible. However, if life (la vie) is radically immanent, the living (le vivant ) has nonetheless to relate to the world: it has to exist . But, since existence requires and includes intentional components, human reality – being both living and existing – implies that immanence and intentionality be (...) related to one another, even though they are conceived at the same time as radically distinct modes of appearing in Henry’s phenomenology of life. Following this line of thought, we are faced with at least two questions: First, what reality does immanent appearing have for us as existing and intentional beings? And second, from an ethical point of view, what does Henry’s opposition of “barbarism” and “second birth” mean in terms of existence? As will be shown, it follows from the standpoint of radical phenomenology itself that immanent affectivity has reality for us only insofar as it finds its expression or translation in the realm of the intentionally visible and that, with regard to ethics, both “barbarism” and its overcoming in “second birth” are effective only insofar as they are mediated through representations. Henry’s critique of representation and intentionality needs therefore to be revised, especially in the field of practical philosophy, where the essential role played by intentionality has to be acknowledged even by radical phenomenology. (shrink)

La formación ética enfrenta el reto de ser comprensible para los estudiantes, pero, sobre todo, de formularsedesde las formas de comprender y discutir sus propias vidas, para que les sea relevante. Una de esas formasespecialmente atractiva entre niños y jóvenes es la comunicación audiovisual, cuyo potencial formativo ha sidocomprendido usualmente en términos instrumentales, cuando no negado absolutamente. Este artículo presentauna propuesta fenomenológica para trabajar dialógicamente en el aula la problematización de una ética centradaen el deber, tal como es puesta en (...) escena en dos productos de animación japonesa (“anime”). En primer lugar,discute fenomenológicamente cómo comprender el potencial formativo de la experiencia de ver una narraciónanimada. En segundo lugar, argumenta cómo la reinterpretación fenomenológica del imperativo categóricopuede superar su desconexión de la dimensión afectiva del sujeto ético y sus contextos fácticos de acción paracentrarse en el cuidado de la condición humana de vulnerabilidad. En tercer lugar, muestra cómo las discusionesanteriores son elaboradas en dos “animes” que permiten que los estudiantes se involucren vivencialmente enestas interpelaciones éticas y que los docentes puedan acoger sus vivencias en una experiencia dialógica deaprendizaje comprendida narrativamente. Concluye recapitulando las oportunidades y exigencias planteadasa los docentes desde esta clave de lectura del sentido de las creaciones audiovisuales en la actividad educativa. (shrink)

Claire Katz & Lara Trout, Emmanuel Levinas. Critical Assessments of Leading Philosophers ; Thomas Bedorf, Andreas Cremonini, Verfehlte Begegnung. Levinas und Sartre als philosophische Zeitgenossen ; Samuel Moyn, Origins of the Other: Emmanuel Levinas between Revelation and Ethics ; Pascal Delhom & Alfred Hirsch, Im Angesicht der Anderen. Levinas’ Philosophie des Politischen ; Sharon Todd, Learning from the other: Levinas, psychoanalysis and ethical possibilities in education ; Michel Henry, Le bonheur de Spinoza, suivi de: Etude sur le spinozisme de (...) Michel Henry, par Jean-Michel Longneaux ; Jean-François Lavigne, Husserl et la naissance de la phénoménologie. Des Recherches logiques aux Ideen: la genèse de l’idéalisme transcendantal phénoménologique ; Denis Seron, Objet et signification ; Dan Zahavi, Sara Heinämaa and Hans Ruin, Metaphysics, Facticity, Interpretation. Phenomenology in The Nordic Countries ; Dimitri Ginev, Entre anthropologie et herméneutique ; Magdalena Mărculescu-Cojocea, Critica metafizicii la Kant şi Heidegger. Problema subiectivităţii: raţiunea între autonomie şi deconstrucţie. (shrink)

The aim of this paper is to propose a new perspective on the difficulty and meaning of ethical work for financial controllers. This is achieved by drawing on concepts from Michel Henry’s phenomenology of life in the field of business ethics. The French philosopher Michel Henry is distinguished by his identifying two modes of appearing: ‘intentionality’ and ‘affectivity’ . Henry suggests that relying only on abstract representations constitutes a specific ideology that causes individuals at work to ignore (...) the actual experience of being affected, and hinders the appearance of life to guide their actions, in turn hindering ethics. Empirical illustrations are provided by a case study that explores the practices of management accountants in a travel retail corporation. By observing the empirical practices of management accountants, a body of professionals whose role is largely dependent on information technology, abstraction and technical expertise to trace organisational flows and transactions, we shed light on the difficult ethical issues associated with their role of surveillance and control of other managers’ work. The case study illustrates a wide range of everyday working practices among management accountants. Some convey the impression that they lack empathy and consideration for other individuals, while others engage in close cooperation and ethical practices despite the constraining configuration of their role. A significant result of this research is that it illustrates and interprets, based on Henry’s phenomenology, a wide range of working practices. Consistent with Henry, we argue that the source of business ethics lies beyond professional standards, codes and values. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

After Husserl, the study of phenomenology took off in different directions. The ambiguity inherent in phenomenology - between conscious experience and structural conditions - lent itself to a range of interpretations. Many existentialists developed phenomenology as conscious experience to analyse ethics and religion. Other phenomenologists developed notions of structural conditions to explore questions of science, mathematics, and conceptualization. "Phenomenology: Responses and Developments" covers all the major innovators in phenomenology - notably Sartre, Merleau-Ponty, and the later Heidegger - and the major (...) schools and issues. The volume also shows how phenomenological thinking encounters a limit, a limit most apparent in the aesthetical and hermeneutical development of phenomenology. The volume closes with an examination of the furthering of the division between analytic and continental philosophy. (shrink)

The studies in this book set out to examine the labile resonances of phenomenology and art in Michel Henry, by examining the different figures of movement given to the concept of the aesthetic by the philosopher. They are preceded by one of Michel Henry’s own texts. Les études qui composent ce livre proposent d’interroger les résonances labiles de la phénoménologie et de l’art chez Michel Henry, en examinant les différentes figures du déplacement imprimé par le philosophe au (...) concept d’esthétique. Le tout est précédé d’un texte de Michel Henry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reading as a Philosophical Practice by Robert PierceyIris Vidmar JovanovićReading as a Philosophical Practice, by Robert Piercey, 130 pp. London: Anthem Press, 2021.Robert Piercey's Reading as a Philosophical Practice is dedicated to exploring the passion of reading, and to explaining ways in which common readers, as Virginia Woolf calls them, rather than professionals, engage with reading. Piercey's answer to this question, which is also the central claim of (...) the book, is that reading—independently of the subject or a genre—is a philosophical activity, that is, "a kind of reflection on experiences and capacities that are distinctive to human beings" (p. 3). As Piercey argues, reading inevitably invites one to consider issues that fall within three main philosophical domains: those related to selfhood; those related to ethical questions, primarily the ones asking about a valuable life; and those concerning ontological questions regarding the true nature of things. Inspiration for this account comes from the writings of Henry James, Stanley Cavell, and Marcel Proust, each of whom describes reading as an experience in which one's self enlarges and new dimensions of subjectivity are revealed. Piercey's ambition is to understand precisely what happens in such moments of discovery, and he sets out to offer an account of the essence of the experience of reading that explains why reading matters so profoundly to so many people.Piercey finds a philosophical grounding for his main claim in Wolfgang Iser's phenomenological account of reading and Alasdair MacIntyre's account of practice. Piercey praises Iser's account of reading as an activity prolonged in time, during which a reader is situated within the text, and tries to rebuild that text by constantly going through interpretative stages. Such a "wandering viewpoint" (p. 20) generates in one a sense of living through an altered subjectivity. As Piercey argues, the greatest value of this explanation is its capacity to account for how a text is given to one's consciousness.Insightful as it is, however, Iser's account has limits, given his focus on fictional classics and his belief that the aim of reading is to arrive at the correct interpretation of a text. To overcome these shortcomings, Piercey adopts MacIntyre's account of practice and argues that understanding reading as a [End Page 468] type of social practice means recognizing it as "embedded in, and expressive of, a full range of human activities and a full picture of the human person." Moreover, thinking of reading as a practice encourages us to see it "as a space where one reflects on what kind of a person one should become, and tries earnestly to make oneself into that kind of a person" (p. 25).What such a project looks like is examined in the third chapter, where Piercey analyzes writings on reading by novelist Nick Hornby. This chapter is particularly interesting in tackling questions that pop up when one pursues reading as important for one's well-being: questions concerning which books to read and which to skip, issues regarding rereading, and the like. The rhetorical power of this chapter is immense, in raising one's awareness of the many nuances that a reflective approach to reading invites. This awareness is further advanced in the sixth chapter, in which Piercey presents "descriptive hermeneutical ontology" (p. 71) to explain how readers discover what is valuable and meaningful about the nature of things and attachments in the process of reading. Interesting here is the dual nature of books that Piercey describes, namely their material copies and their content, or virtual reality, and the instrumental and intrinsic ways in which each of the two can acquire meaning for individual readers. He concludes that reading matters to so many people because it lets them experience and reflect on the fragmentation built into their encounters with things.In chapter 4, Piercey discusses one of the cornerstones of literary aesthetics: the view—as developed by, among others, Martha Nussbaum—that reading makes us morally better. Piercey acknowledges the relevance of empirical challenge to this view, particularly as advanced by Gregory Currie. Piercey claims that the Nussbaum-like approach to getting ethical lessons from reading is an... (shrink)