Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them (...) of their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer’s creative approaches to the mystery of man’s relation to time and death. (shrink)

Hans-Georg Gadamer's contribution to hermeneutics can be summarized in a nut shell in his thesis that there is a “wirkungsgeschichtliche” dimension in all understanding. In this article I make four remarks on the meaning of this concept. Firstly: the universal claim of Gadamer does not claim to describe the totality of understanding, but only an essential and forgotten dimension. Secondly: there are three ascending perspectives on art, tradition and speaking that constitute together the Wirkungsgeschichte. Every one of them (...) demonstrates that understanding is not primarily an action of objectification, but a happening of participation. Thirdly: there are similar thinking patterns by different philosophers that demonstrate that Gadamer's concept of the Wirkungsgeschichte is not so new and strange. Lastly: Gadamer's use of Aristotle's concept of phronesis or judgement (practical reasoning) is the concretization of the Wirkungsgeschichte and his great contribution to hermeneutics. S. Afr. J. Philos. Vol.21(4) 2002: 274-290. (shrink)

Catherine Zuckert examines the work of five key philosophical figures from the nineteenth and twentieth centuries through the lens of their own decidedly postmodern readings of Plato. She argues that Nietzsche, Heidegger, Gadamer, Strauss, and Derrida, convinced that modern rationalism had exhausted its possibilities, all turned to Plato in order to rediscover the original character of philosophy and to reconceive the Western tradition as a whole. Zuckert's artful juxtaposition of these seemingly disparate bodies of thought furnishes a synoptic view, (...) not merely of these individual thinkers, but of the broad postmodern landscape as well. The result is a brilliantly conceived work that offers an innovative perspective on the relation between the Western philosophical tradition and the evolving postmodern enterprise. (shrink)

Platos dialektische Ethik.--Plato und die Dichter.--Platos Staat der Erziehung.--Dialektik und Sophistik im VII. platonsichen Brief.--Amicus Plato magis amica veritas.--Register, von J. H. Trede.

Within the Husserlian phenomenological philosophical tradition, description and interpretation co-exist. However, teaching the practice of phenomenological psychological research requires careful articulation of the differences between a descriptive and an interpretive relationship to what is provided by qualitative data. If as researchers we neglect the epistemological foundations of our work or avoid working through difficult methodological issues, then our work invites dismissal as inadequate science, undermining the effort to strongly establish psychology along qualitative lines. The first article in this two-part discussion (...) provides a Husserlian investigation of the meaning of ‘method’ for psychology as a human science. This investigation is undertaken in the light of some researchers’ appropriations of Gadamer’s philosophical hermeneutics in the service of non-methodical praxes. The second article will address some implications of the attempt to structure qualitative psychological research along ‘Gadamerian’ lines, taking seriously the references to Gadamer’s work made by researchers such as Van Manen and Smith. Indo-Pacific Journal of Phenomenology , Volume 11, Edition 1 May 2011, 69-85. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that deploy (...) literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically (...) them from the sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)