The political role of architecture in urban space design is still a significant philosophical issue. Starting from the assumption that cities can actually be understood as material texts, Paul Ricoeur’s hermeneutics has described the architecture as a creative mimesis of space. Textual hermeneutics applied to architecture, if crossed with Ricoeur’s reading of ideology and utopia, allows today to qualify the figure of the architect as a critical and transformative narrator of the urban dimension, and, thus, to identify his political task (...) in the imaginative effort of thinking a utopian elsewhere which is, at the same time, rooted in cultural and historical identities of designed places. (shrink)

This work traces the development Paul Ricoeur's recent hermeneutic phenomenology since the late 1960's, and develops the critical element within Ricoeur's recent thought by examining his conceptions of ideology and utopia, and the relationship between hermeneutics and critical theory, in order to elaborate a critical and rationally justified interpretation of human action for the social sciences. Particular attention is paid to Ricoeur's works on metaphor, narrative, and ethics in the context of a critical theory of power, ideology and history. (...) Hermeneutics, if properly conceived, is, at the same time, a critical theory of society geared toward identifying ideological formations and utopian possibilities of liberation. The Habermas-Gadamer debate forms the backcloth for this study by functioning like a hidden dialogue partner that informs our reading of the development of Ricoeur's thought. I propose an extension of Ricoeur's conception of a critique of ideology in two directions, corresponding a phenomenology of the will, and a narrative theory of human action. The result of this extension, or interpolation, is to deepen and clarify a thought path begun by Ricoeur. The basis for a critique of ideological action is a conception of truth that incorporates a Husserlian notion of evidential experience, and a Habermasian notion of truth as consensus. The normative basis for critique is Ricoeur's conception of discourse ethics, which incorporates an Aristotelian conception of the good life, and a Kantian conception of autonomy and deontological moral norm. Ricoeur's model of interpretation and critique surpasses both Habermas and Gadamer, by integrating the Habermasian validity basis of discourse within a broader, phenomenologically grounded conception of human experience and action that emphasizes the creative and imaginative uses of language for interpretation, critique, practical reason, and self-reflection. (shrink)

Abstractabstract:This article revisits the utopian fiction of German science-fiction writer and poet Paul Scheerbart, considering the place of race and gender in his fantastical glass architectural spaces. This is primarily done through a reading of clothing and decoration in these texts, elements that are often explicitly mentioned in relation to women and people of color. Historical context concerning modernist paradigms, metaphorical interpretations of architectural glass, the connection between clothing and architecture, and the place of women in the Werkbund provides a (...) framework that serves to extrapolate the significance of some of Scheerbart's narrative elements, demonstrating the ways Scheerbart's philosophies both aligned with and departed from the modernist trends that were gaining force during his career. His constant self-contradiction, humor, and absurdist plots, however, undermine any notion that Scheerbart's fiction should be understood as straightforward polemics, and serve to complicate his position within the philosophical traditions he has been aligned with. (shrink)

The analysis of fundamental texts such as “Architecture and Narrativity” and Memory, History, Forgetting aims to fill a gap in studies of Environmental Hermeneutics. Indeed, the analogy between space and narrative, through parallelism with the process of triple mimesis, is usually deduced by environmental hermeneuticists from the works Time and Narrative and Oneself as Another. However, Ricœur himself took it upon himself to make this transposition in a direct and elaborated way from a phenomenological and hermeneutic analysis of the built (...) space and the inhabited space, opening the way for a broader and more grounded epistemology of environmental hermeneutics. The introduction of the critical concept of landscape, as seen today by constructivist and cultural geography, legitimizes the claims of an environmental hermeneutics as an interpretive process of formally non-textual objects. Indeed, landscape in its connection to territory has its own semiotic and semantic character, which is appealed to for reading and interpretation. (shrink)

This paper aims to foster an interdisciplinary dialogue between Ricoeur’s phenomenological- hermeneutical thought and human geography, in particular with respect to the issue of landscape interpretation. The connection draws on the idea that landscapes and lived spaces can be read as texts, not unfamiliar to human geography and semiotics from 1980s onward. In the first part of the paper I will briefly expound some theories of landscape which make use of the metaphors “landscape as cultural image” and “landscape as text” (...) in human and cultural geography. Then, I will discuss the main contribution of Ricoeur to the issue of space. The philosopher already envisioned a possible application of his “threefold mimesis” of Time and Narrative to architectural spaces. In the conclusion, I will propose to rejuvenate the geographical metaphor of “landscape as text” by introducing a possible application of the Ricoeurian notion of “meaningful action as text” to landscape. (shrink)

Aristotle’s distinction between phronesis (practical wisdom) and episteme (theory) has been centrally influential in the development of hermeneutics. Heidegger, initiating hermeneutic phenomenology, foregrounded practical understanding as foundational (or ‘ready-to-hand’): scientific theory was but secondary (‘presented-at-hand’). Gadamer subsequently emphasised understanding as primarily practical, as an applicative achievement, within broad assumptions, ‘horizons of understanding’, a metaphor signalling explicitly/implicitly represented surroundings. How should Aristotle’s idea of practical wisdom in human affairs articulated in phenomenology’s hermeneutic thought - principally Gadamer’s scholarship - inform researcher (...) analyses? Here an account of hermeneutic philosophy, with its core conceptual formations, is presented as concerning situated understanding in practice, phronesis. Multiple instances of this behavioural research focus from psychology’s Interpretative Phenomenological Analysis then receive reflection. Interviewing proceeds from ‘horizons of expectation’ (Jauss 1982). Themes are viewed as 'horizons of understanding’ (Gadamer 1975), interviewees’ perspectives on practices. A researcher may engage in resolving ‘indeterminacy’ (Iser 1978). Participants’ reflectively recounted meaning-making phronesis practices can be structured in their analyses by locating their a priori, universally discernible aspects. Thus phronesis is constituted by generic, care (Heidegger’s Sorge) embodying activity, ‘emplaced’ or understood from tacit representational affective ‘horizons of understanding’: participant bodies can become denoted ‘equipment’ (Heidegger’s Zeug). Keywords: caring, hermeneutic phronesis, interpretative horizons of understanding, phenomenology. (shrink)

ABSTRACT Born in periods of crises, utopias adopt a threefold structure: a critique of society, a spatial arrangement, and a new society sustained by this spatial arrangement. Accordingly, space and architecture are recognized as spatial levers to address crises and change societies. However, three problematic characteristics emerge from an analysis of past and contemporary utopias. First, utopias do not always advocate for new societal orders, as some tend to consolidate the existing ones. Second, they have evolved to be increasingly tangible. (...) Third, while appearing as collective narratives, they are written by a single hand, allowing little variations. To address these issues and revitalize their critical potency, utopias could act as beacons rather than concrete projects, work on processes rather than goals, and build collective narratives rather than monologues. Eventually, the article illustrates architecture’s twofold rationale: a means to physically build space and a critical tool to reflect on society. (shrink)

This book is a careful study of writings by Paul Ricoeur from his early discussions of phenomenology, through the development of his hermeneutic philosophy, to recent texts on the self and the other. Venema identifies the development of a hermeneutical understanding of identity and selfhood as the central issue that belongs to Ricoeur’s work. He discusses the distinct phases that belong to that work, and the specific concerns that Ricoeur comes to address in those phases, in the light of this (...) issue. The hermeneutical treatment of identity and selfhood begins in a critique of Husserlian transcendental phenomenology. Venema develops that critique by focusing, not exclusively but significantly, on the first part of Ideas I. He argues that one finds in transcendental phenomenology claims to a self-transparent and independent ego whose achievements occur with necessity. A critique that discovers immanent problems in these claims is the first step that Ricoeur takes in moving toward a hermeneutical understanding of identity. A second step occurs when Ricoeur focuses on the significance of the imagination. Imagination mediates between the multiplicity of involuntary dispositions and the unifying function of voluntary capacity. It also mediates between the finitude of passive receptivity and the infinite effort to determine what is received with names. This effort, in turn, locates the self in a situation of power over others in a context that nonetheless also calls for the reciprocals constitutions of selves. Venema notes the anomalous character of this position. He claims that it continues to be present in related and basic ways throughout the development of Ricoeur’s work. The analyses of metaphor seriously attempt to exhibit the reciprocity of identity and difference and to contribute to a hermeneutic of reciprocal self-constitution. At the same time, parts of those analyses suggest a primacy of identity over difference in relation to language, selfhood, and Being. This undercuts the claim that selves are constituted through reciprocal relations with each other and with the world. The analyses of narrative uncover an understanding of identity as something that comes about insofar as narrative discourse configures and refigures temporal experience. At the same time the appropriation of narrative possibilities seems to presuppose a voluntary cogito that stands over against the flux of symbolic and narrative discourse. Finally, Ricoeur extends the discussion of identity expressly to include the problem of selfhood. Continuing to define identity in narrative terms, he insists on both the distinction between and the correlation of self-sameness and self-constancy in the identity of the self. However, the way in which his discussions of identity and selfhood combine a semantic analysis of selfreference with a pragmatic analysis of self-designation leads to problems that ultimately render his account of the self’s receptivity of the other inadequate or at least incomplete. (shrink)

The purpose of this paper is to elaborate on the notion of clinical medicine as a hermeneutical enterprise and to bridge the gap between the general perspectives of hermeneutics and the particularities of medical practice. The case of a patient with low back pain is analyzed. The discussion centers around the metaphor of the patient as a text and a model of five social discourses about low back pain. The problems addressed are: (1) the nature of a moral experience, (...) (2) the variety of available texts, (3) the difference between the doctor's and patient's narratives, and (4) the patient's and doctor's responsibility regarding the existential, biographical meaning of an illness. Although many problems are left unsolved, it is argued that from a philosophical point of view the notion of medicine as a hermeneutical enterprise opens up the possibility of gaining insight in the foundations of the clinical encounter. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The configurational dimension, in turn, displays temporal features that may be opposed to these "features" of episodic time. The configurational arrangement makes the succession of events into significant wholes that are the correlate of the act of grouping together. Thanks to this reflective act—in the sense of Kant's Critique of Judgment—the whole plot may be translated into one "thought." "Thought," in this narrative context, may assume various meanings. It may characterize, for instance, following Aristotle's Poetics, the "theme" that accompanies the (...) "fable" or "plot" of a tragedy.1 "Thought" may also designate the "point" of the Hebraic maschal or of the biblical parable, concerning which Jeremias observes that the point of the parable is what allows us to translate it into a proverb or an aphorism. The term "thought" may also apply to the "colligatory terms" used in history writing, such terms as "the Renaissance," "the Industrial Revolution," and so on, which, according to Walsh and Dray, allow us to apprehend a set of historical events under a common denominator. In a word, the correlation between thought and plot supersedes the "then" and "and then" of mere succession. But it would be a complete mistake to consider "thought" as a-chronological. "Fable" and "theme" are as closely tied together as episode and configuration. The time of fable-and theme, if we may make of this a hyphenated expression, is more deeply temporal than the time of merely episodic narratives. · 1. It may be noted in passing that this correlation between "theme" and "plot" is also the basis of Northup Frye's "archetypal" criticism. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. Some of his works to appear in English are Husserl: An Analysis of His Phenomenology, Main Trends in Philosophy, and The Conflict of Interpretations: Essays on Hermeneutics. His previous contribution to Critical Inquiry, "The Metaphorical Process as Cognition, Imagination, and Feeling," appeared in the Autumn 1978 issue. (shrink)

“Discourse, Metaphysics,and Hermeneutics of the Self” deals with the connection between the hermeneutics of the self, as constituted in the ethical-anthropological framework of Oneself as Another (1990), and Ricoeur’s conception of a metaphysics of human agency as developed within this period of his work. It relates to his inquiries in the fields of ontology and metaphysics, from the lectures entitled Être, essence et substance chez Platon et Aristote (1953-1954), up to “De la métaphysique à la morale” (1993) published in the (...) Revue de métaphysique et de morale, via the article “Ontologie” (1972) for Encyclopaedia Universalis, the last chapter of The Rule of Metaphor (1975), and the first section of the conclusions to the third volume of Time and Narrative (1985). Ricœur aims at determining a specific kind of philosophical discourse as a common ground for the perspectives stemming from a hermeneutic phenomenology and from a more speculative ontological-metaphysical research. (shrink)

“Discourse, Metaphysics,and Hermeneutics of the Self” deals with the connection between the hermeneutics of the self, as constituted in the ethical-anthropological framework of _Oneself as Another_ (1990), and Ricoeur’s conception of a metaphysics of human agency as developed within this period of his work. It relates to his inquiries in the fields of ontology and metaphysics, from the lectures entitled _Être, essence et substance chez Platon et Aristote_ (1953-1954) – translated as _Being, Essence and Substance in Plato and Aristotle_ (2013)—, (...) up to “De la métaphysique à la morale” (1993) published in the _Revue de métaphysique et de morale _– translated into English as “From Metaphysics to Moral Philosophy” (1996)—, via the article “Ontologie” (1972) for _Encyclopaedia Universalis_, the last chapter of _The Rule of Metaphor_ (1975), and the first section of the conclusions to the third volume of _Time and Narrative_ (1985). Ricœur aims at determining a specific kind of philosophical discourse as a common ground for the perspectives stemming from a hermeneutic phenomenology and from a more speculative ontological-metaphysical research. (shrink)

This book provides a perceptive analysis of the "narrative turn" that led Paul Ricoeur to his magisterial work Time and Narrative. Ricoeur has for many years explored the intersections of diverse strands of European philosophy, but it is his recent work that has attracted the most discussion and engendered the most debate in Europe and America. The Narrative Path explores the roots and meaning of that work. Two of the book's five essays reach back to Ricoeur's earlier work to clarify (...) his themes: Richard Kearney concentrates on the role of imagination in hermeneuties, and Maria Villela Petit explores the development of Ricoeur's concept of history from History and Truth to Time and Narrative. Two essays analyze the significance of Ricoeur's reflections on metaphoric and narrative language: Serge Mellinger looks at the relationship between time and poetry from the point of view of Ricoeur's discussions of the connection between time and narrative, and T. Peter Kemp extends Ricoeur's analysis to argue that narration is indispensable to ethics. The book concludes with a reflection by Ricoeur himself on the linguistic, practical, and ethical dimensions of human beings, and with a bibliography of Ricoeur's work in English. T. Peter Kemp teaches in the Department of Philosophy at the University of Copenhagen. The Narrative Pathis based on a special issue of the journal Philosophy and Social Criticism, edited by David Rasmussen, who is Professor of Philosophy at Boston College. (shrink)

This paper demonstrates an implicit connection between narrativity and recognition in the work of Paul Ricœur. This view is developed in three steps. First, it shows that the subject who calls for recognition demands that his or her own narrative be recognized. In order to be recognized, a story must be measured with history , particularly that of the victims. Second, from this perspective, the role of collective narratives is fundamental, because they represent the possibility to connect the intrinsic teleology (...) of every human being to the collective attribution of significance. Finally, with the help of a little known essay by Ricœur, the metaphorical power of narrativity to configure meaning will be compared to the power of architecture to construct and to organize space. Both these fields give stories visibility and an ability to be recognized.  . (shrink)

If we are to think about diagrams closely, we must register their cognitive significance as they direct work and establish networks of relationships among multiple symbolic fields. Diagrams do not engage a simple horizon of understanding but are part of an integrative process through which structures literally appear in the world. Rather than being hermeneutic in a strict sense, diagrams are heuristic because they are accompanied by an expectation that they participate in a process that turns words and experience into (...) structure. Because diagrams may shift in status, they may be thought of as relays that both create meaning and enable symbolic translation from one mode of representation to another. While a diagram may visually present or reinforce an idea one moment, the next it may provide a means for seeing something never seen before. After commenting on how recent architectural theory has approached diagram, I consider the relationship between diagram and metaphor before turning my attention to the ways that diagrams function within a process that includes design as well as building. Finally, I ask how the use of diagram within architecture points not only to a phenomenology of invention and practice but also to the networks which constitute architecture. (shrink)

“Discourse, Metaphysics,and Hermeneutics of the Self” deals with the connection between the hermeneutics of the self, as constituted in the ethical-anthropological framework of Oneself as Another (1990), and Ricoeur’s conception of a metaphysics of human agency as developed within this period of his work. It relates to his inquiries in the fields of ontology and metaphysics, from the lectures entitled Être, essence et substance chez Platon et Aristote (1953-1954), up to “De la métaphysique à la morale” (1993) published in the (...) Revue de métaphysique et de morale, via the article “Ontologie” (1972) for Encyclopaedia Universalis, the last chapter of The Rule of Metaphor (1975), and the first section of the conclusions to the third volume of Time and Narrative (1985). Ricœur aims at determining a specific kind of philosophical discourse as a common ground for the perspectives stemming from a hermeneutic phenomenology and from a more speculative ontological-metaphysical research. (shrink)

Paul Ricœur’s ontology of art is derived from his hermeneutics, and Ricœur’s hermeneutics bridges his idea of aesthetics and ontology. Paul Ricœur’s ontology of art (in which the concept of refiguration plays a central role) sheds a new light in understanding and experiencing works of art. Ricœur discusses the metaphorical reference of poetic texts that opens up the realm of possible worlds. This idea of metaphoric reference can be extended to works of art as well. Both fictional narratives and artworks (...) may be defined by the formula seeing as, and this formula represents their ontological status that may be defined as being as. Paul Ricœur argues that non-linguistic symbolic systems such as gestures, sounds and pictures also have the power to make and remake the world. Ricœur’s narrative theory can be applied to both to literature and visual arts as it identifies narrative capacity of artworks. Ricœur introduces the concept of refiguration that includes the transformation of reality, which is first prefigured in the consciousness of the author (mimesis 1). It is then configured in the artwork (mimesis 2), and finally into the experience of the viewer or listener of the artwork (mimesis 3), which leads to comprehension. (shrink)

The Hermit’s Hut offers an original insight into the profound relationship between architecture and asceticism. Although architecture continually responds to ascetic compulsions, as in its frequent encounter with the question of excess and less, it is typically considered separate from asceticism. In contrast, this innovative book explores the rich and mutual ways in which asceticism and architecture are played out in each other’s practices. The question of asceticism is also considered—as neither a religious discourse nor a specific cultural tradition but (...) as a perennial issue in the practice of culture. The work convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse—the latter opening the door to modern minimalism. As the book’s title suggests, the protagonist of the narrative is the nondescript hermit’s hut. Relying primarily on Buddhist materials, the author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination. In exploring the conjunctions of architecture and asceticism, he breaks new ground by presenting ascetic practice as fundamentally an architectural project, namely the fabrication of a “last” hut. Through the conception of the last hut, he looks at the ascetic challenge of arriving at the edge of civilization and its echoes in the architectural quest for minimalism. The most vivid example comes from a well-known Buddhist text where the Buddha describes the ultimate ascetic moment, or nirvana, in cataclysmic terms using architectural metaphors: “The roof-rafters will be shattered,” the Buddha declares, and the architect will “no longer build the house again.” As the book compellingly shows, the physiological and spiritual transformation of the body is deeply intertwined with the art of building. The Hermit’s Hut weaves together the fields of architecture, anthropology, religion, and philosophy to offer multidisciplinary and historical insights. Written in an engaging and accessible manner, it will appeal to readers with diverse interests and in a variety of disciplines—whether one is interested in the history of ascetic architecture in India, the concept of “home” in ancient India, or the theme of the body as building. (shrink)

Ricoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship to (...) sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics. (shrink)

This article argues that, despite their distance across the colonial divide, a creolizing reading of Frantz Fanon and Paul Ricœur can yield valuable insights into decoloniality. Tracing their shared philosophical concerns with embodied phenomenology, social ontology and recognition, I argue that their respective accounts of sociogeny and hermeneutics can be productively read together as describing a shared end of mutual recognition untainted by racism or coloniality – a ‘new skin’ for humanity, as Fanon describes it. More specifically, Fanon contributes to (...) Ricœur an understanding of how divergences in social location can be overcome through liberatory action that posits a new logic of sociality; likewise, Ricœur provides Fanon with an account of how liberatory horizons are produced through this praxis, based on the imaginative connection between ideology and utopia. This article concludes by arguing that these congruent methodological and normative concerns can be read together to concretize – and potentially actualize – the utopic end of liberatory struggle in mutual recognition through fashioning this new skin. (shrink)

The neutrality of the art and architecture of courtrooms and courthouses has dominated the public perception in the Indian context. The courtroom design and the visual artistic elements present within these judicial places have very often been considered to be insignificant to the notions of law and justice that they reflect. As art and architecture present certain historical narratives, reflect political allegories and have significant impact on the perceptions of their viewers, they have critical socio-political ramifications. This makes it pertinent (...) to explore them and investigate the paradox of their deployment and interpretation in today’s increasingly mediatized world. Through an ethnographic study of the Supreme Court of India, this paper interprets its art and architecture, and, the symbolism and semiotics reflected through them. Arguing against their neutrality and insignificance, the paper demonstrates how they reflect nationalism, certain ideologies and power-space dynamics. It further argues that they act as evidence of political metaphors related to justice, power and democracy. With a conversation between law, architecture and semiotics, the paper investigates the historical and spatial dimensions of its architecture and artistic elements. Mapping the Court’s architectural elements, I examine how the visual representation of ‘justice as virtue’ finds translation in its design through transfer of certain images, including the image of the ‘scales of justice’, into it, while absenting the notion of ‘justice as struggle’—to contemplate on how legal architecture gives evidence to the vexed relationship between law and justice and also of the break from the colonial past. (shrink)

Metaphors function not only as linguistic constructs but also as profound vehicles for spiritual and philosophical reflection in visual narratives. In cinema, multimodal metaphors—expressed through sound, imagery, and narrative structure—serve as powerful tools for conveying existential, ethical, and religious themes. Within the context of globalization and modernization, contemporary Chinese ethnic films often explore themes of ecological crisis, cultural displacement, and the search for identity. These themes, embedded in public consciousness, are projected onto the cinematic screen through a rich tapestry of (...) multimodal metaphors, shaping audiences' perceptions of human nature, spirituality, and the cultural imagination of China’s ethnic minorities. Grounded in cognitive metaphor theory and philosophical hermeneutics, this study employs the Film Metaphor Identification Procedure (FILMIP) to analyze the Tibetan film Snow Leopard, directed by Pema Tseden. It examines how multimodal metaphors contribute to the cognitive construction of religious and philosophical meaning in Chinese ethnic cinema, mapping various modalities to explore their deeper metaphysical and moral connotations. Through an analysis of symbolic imagery, environmental motifs, and human-animal relationships, the study reveals how the film engages with Buddhist and indigenous spiritual traditions, reinforcing themes of karma, interconnectedness, and moral redemption. By investigating the role of multimodal metaphor in expressing transcendent and existential concerns, this research offers insights into how Chinese ethnic cinema fosters religious dialogue and shapes national and spiritual identity. The findings suggest that ethnic films, through their metaphorical richness, not only deepen audience engagement with cultural and religious narratives but also contribute to a broader philosophical discourse on faith, belonging, and the human condition. Future studies should further explore the intersection of religious symbolism, cognitive semiotics, and cinematic storytelling in constructing spiritual and philosophical meaning. (shrink)

Machine generated contents note: 1. Introducing persons and the psychology of personhood Jack Martin and Mark H. Bickhard; Part I. Philosophical, Conceptual Perspectives: 2. The person concept and the ontology of persons Michael A. Tissaw; 3. Achieving personhood: the perspective of hermeneutic phenomenology Charles Guignon; Part II. Historical Perspectives: 4. Historical psychology of persons: categories and practice Kurt Danziger; 5. Persons and historical ontology Jeff Sugarman; 6. Critical personalism: on its tenets, its historical obscurity, and its future prospects James T. (...) Lamiell; Part III. Social-Developmental Perspectives: 7. Conceiving of self and others as persons: evolution and development John Barresi, Chris Moore and Raymond Martin; 8. Position exchange theory and personhood: moving between positions and perspectives within physical, sociocultural and psychological space and time Jack Martin and Alex Gillespie; 9. The emergent ontology of persons Mark H. Bickhard; 10. Theorising personhood for the world in transition and change: reflections from a transformative activist stance on human development Anna Stetsenko; Part IV. Narrative Perspectives: 11. Identity and narrative as root metaphors of personhood Amia Lieblich and Ruthellen Josselson; 12. Storied persons: the double triad of narrative identity Mark Freeman. (shrink)

Heidegger's Being and Time is an underappreciated venue for pursuing work on the role narrative plays in self‐understanding and self‐constitution, and existing work misses Heidegger's most interesting contribution. Implicit in his account of Dasein (an individual human person) is a notion of the narrative self more compelling than those now on offer. Bringing together an adaptive interpretation of Heidegger's notion of “thrown projection”, Wolfgang Iser's account of “the wandering viewpoint”, and more recent Anglo‐American work on the narrative self, I argue (...) that we read our ongoing existences in the same way that, mid‐story, we read a narrative. Reading is a better master metaphor than authorship, narration, plot, or character to guide investigations of narrative's relation to the self. It is not merely a metaphor, however, as the hermeneutic structures involved in interpreting existence and a narrative from the middle are the same. (shrink)

But is not the word "metaphor" itself a metaphor, the metaphor of a displacement and therefore of a transfer in a kind of space? What is at stake is precisely the necessity of these spatial metaphors about metaphor included in our talk about "figures" of speech. . . . But in order to understand correctly the work of resemblance in metaphor and to introduce the pictorial or ironic moment at the right place, it is necessary (...) briefly to recall the mutation undergone by the theory of metaphor at the level of semantics by contrast with the tradition of classical rhetoric. In this tradition, metaphor was correctly described in terms of deviance, but this deviance was mistakenly ascribed to denomination only. Instead of giving a thing its usual common name, one designates it by means of a borrowed name, a "foreign" name in Aristotle's terminology. The rationale of this transfer of name was understood as the objective similarity between the things themselves or the subjective similarity between the attitudes linked to the grasping of these things. As concerns the goal of this transfer, it was supposed either to fill up a lexical lacuna, and therefore to serve the principle of economy which rules the endeavor of giving appropriate names to new things, new ideas, or new experiences, or to decorate discourse, and therefore to serve the main purpose of rhetorical discourse, which is to persuade and to please. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. He is editor of Revue de métaphysique et de morale and the author of many influential works on phenomenology, hermeneutics, and the philosophy of language. His most recent work to appear in English is The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language. He has also contributed "Narrative Time" to Critical Inquiry. (shrink)

Research on gender inequalities in well-being, attribute lower levels of wellness in women to the burden of multiple role demands, particularly during midlife. Using mostly quantitative measures of subjective well-being (SWB), such studies tend to narrow the concept of well-being and overlook the value of in-depth, context-specific inquiry. Work-life balance is also a consistent causative narrative in studies on women's well-being. Yet, such a narrative frequently emphasizes individual agency in a seemingly unattainable quest, implying an anomaly on how women then (...) actually manage to sustain their well-being. The present study therefore explored the work-life experiences of women in their midlife. The aim was to reach a deeper understanding of the psycho-social dynamics at play in sustaining a psychologically-well self. Meta-theoretically the study built on non-traditional and gendered career models that augment female employees' unique career needs. From a socioanalytic stance, this study investigated secondary data gathered from focus groups, which were based on the socioanalytic method of social dream drawing. The data originated from four sessions of social dream drawings, in which the researcher as participant-observer, investigated work-life experiences of seven women. The gathered information was managed through Atlas.ti and processed through phenomenological hermeneutic analysis. The findings contribute to the discourse on women and well-being and give insight into the application of a unique socioanalytic methodology to research in this field from a gendered perspective. Results were analyzed by developing metaphors from the data. These metaphors reflect women's well-being as they present three unique career needs, namely challenge, balance, and authenticity, during their midlife career stage. Findings show how women's projective identification with outdated gender role norms may perpetuate a gendered notion of work-life balance, which consistently challenges their well-being. Projective identifications are evident in introjected feelings of self-doubt, self-stereotyping, and in the tension between female employees' personal and social identities. The study ultimately points to well-being as a dynamic phenomenon, which women sustain by engaging both positive and negative experiences and through identity tasks such as self-awareness, self-authorisation, self-regard, and authentic self-expression. These findings highlight the importance of creating self-reflective space in organizations to facilitate women's psychological well-being. (shrink)

This study focuses on the meaningful encounters of patients and next of kin, as seen from their perspective. Identifying the attributes within meaningful encounters is important for increased understanding of caring and to expand and develop earlier formulated knowledge about caring relationships. Caring theory about the caring relationship provided a point of departure to illuminate the meaningful encounter in healthcare contexts. A qualitative explorative design with a hermeneutic narrative approach was used to analyze and interpret written narratives. The phases of (...) the analysis were naïve interpretation, structure analysis on two different levels (narrative structure, and deep structure through metaphors) and finally a dialectic interpretation. The narratives revealed the meaning of the meaningful encounter as sharing, a nourishing fellowship, common responsibility and coming together, experienced as safety and warmth, that gives, by extension, life‐changing moments, a healing force and dissipated insight. The meaningful encounter can be seen as a complex phenomenon with various attributes. Understanding the meaningful encounter will enable nurses to plan and provide professional care, based on caring science, focusing on patient and next‐of‐kin experiences. (shrink)

The frequent use of metaphors in health care communication in general and clinical ethics cases in particular calls for a more mindful and competent use of figurative speech. Metaphors are powerful tools that enable different ways of thinking about complex issues in health care. However, depending on how and in which context they are used, they can also be harmful and undermine medical decision-making. Given this contingent nature of metaphors, this article discusses two approaches that suggest how medical health care (...) professionals may systematically and imaginatively work with metaphors. The first approach is informed by a model developed by cognitive scientists George Lakoff and Mark Turner. The second approach is a close reading and thus a text-immanent, hermeneutical strategy. Using the double perspective of an ethics consultant and a researcher in literature studies, we take a case from Richard M Zaner in which a metaphor is central to the clinical-ethical problem. The article shows that the approaches, which focus on creativity and the intersections of form and content, may be helpful tools in clinical ethics, enabling a competent and mindful working with metaphors in complex cases as well as supporting the consultant’s thoughts processes. (shrink)

Translations across symbolic forms necessarily involve shifts and transformations of meaning due to the logic of the medium. They challenge us to examine fundamental metaphors as an aspect of design reasoning, particularly in relation to the construction of spatial relationships and meanings. They also involve the exploration of diagrams as a way of moving from the space of linguistic description to architectural space where topology and visual image are tightly interfaced. In this paper, Terragni's unrealized design for a monument to (...) Dante, which projects The Divine Comedy into an architectural schema is examined as a case study. The Divine Comedy is treated as an expanded body of work that includes, in addition to the original text, a multitude of paintings, as well as Terragni's project. The paper draws a distinction between transformations of meaning that arise of necessity due to the internal logic of symbolic forms and transformations which manifest specific design intentions. The Divine Comedy with its compositional, numerological, and descriptive attributes forms the program for the architectural project. Nevertheless, as in any project, the program does not, in itself, generate architecture. This paper shows that in the Danteum project three major operations are involved in design synthesis. The first inflects the familiar metaphor of the column as a body. The second uses recursive 'extreme to mean ratio' proportions to establish nesting, repetition and scaling, and through these a sense of unity. The third uses a pattern of overlapping squares so as to create a dialogue between strongly differentiated interiors and transitional zones. These operations in conjunction with the compositional and narrative aspects of the poem interpreted as program make the translation from linguistic space to architectural space possible. Thus, in this case, design formulation is not based on a single metaphor, but rather on a system of metaphors working together to bring physical elements, spatial relationships and design operations within a coherent framework of design reasoning. (shrink)

Philosophy has always examined subjectivity in terms of its relationship with time, but less frequently has it engaged with the theme of space; however, as soon as it begins to do this, it runs into questions that remain very much open. Paul Ricoeur only moved onto considering the topic of space after having reflected at length on time and the temporality inhabited by subjectivity. Making space a topic means not only thinking about the extension of the one's own body as (...) a lived body but also reflecting on that physical space in which "the other comes closer and where the close becomes other" and in which the encounter of identity and difference creates continuous short circuits, especially in the increasingly congested western metropolises. Starting from the "unexpected application" of the narrative dimension to architecture, Ricoeur goes on to develop an interesting reflection on space built and space inhabited. (shrink)

Heliodorus is known for his elaborate narrative technique. This effect is due to ekphrasis, a resource widely used by sophists and recommended in textbooks of rhetoric (Progymnasmata). In the first block of the work, Heliodorus uses this resource, but not randomly. There is an image, literally or metaphorically repeating itself: the labyrinth. Our intention is to demonstrate that the repetitions have a commonality, in addition to a strong hermeneutical appeal. Moreover, the labyrinths are introduced in the part where the narrative (...) is skillfully written in medias res. It is precisely in this passage that the reader, as in a labyrinth, is meanderingly led by several paths, until he reaches the understanding of the opening scene, at the mouth of the Nile. The analysis of the procedures used by Heliodorus leads to the conclusion that the succession of textual or imagethic labyrinths places the reader in a game, from which he can only emerge at the end of the fifth book. (shrink)

The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted (...) to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, _The Routledge Companion to Aesthetics_ is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)

The article is devoted to the analysis of the archetypal image of the Promised Land in Russian utopian thought. The subject of the research is the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the philosophical texts of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev, reflecting collective hopes for finding social harmony. The object of research is the image of the Promised Land, which contains an archetypal idea of the place of prosperity in earthly reality. The main purpose of (...) the article is to determine the specifics of the functioning of the archetypal image of the Promised Land in the Russian utopia, the features of which can be traced in the models of the best social structure of Russia depicted by the authors. The application of archetypal analysis to utopian pictures of the future is a little-studied technique, which determines the relevance of this study. The article uses comparative historical, hermeneutic and structural-typological methods to identify the genesis and development of the image of the Promised Land, analyze the texts of the authors in a cultural and historical aspect and identify similar features in them, making it possible to identify the image of the Promised Land as archetypal. The scientific novelty is due to the fact that the consideration of utopias is carried out through the prism of the archetypal image of the Promised Land, rooted in the collective unconscious and embodying the hopes of society for finding a world where the ideals of freedom, equality and justice will be embodied. It is determined that the archetypal image of the Promised Land in Russian utopia is a metaphorical expression of the search for a "lost paradise" and appears in utopian plots as a stable motive focusing faith in the coming of a bright future. The main stable components that make up the semantic core of the image of the Promised Land are highlighted. It is concluded that this image functions in utopian plots, on the one hand, as a topological constant indicating the place of action ("the land of Ophir", "the Northern Kingdom", "Mars"), on the other hand, as an idea of the ideal structure of social existence, which can be associated not only with real, but also transcendent reality, the spiritual state of society ("Millennium", "Kingdom of the Spirit", etc.). (shrink)

This paper proposes a new organizational metaphor, the ‘Biophilic Organization’, which aims to counter the bio-cultural disconnection of many organizations despite their espoused commitment to sustainability. This conceptual research draws on multiple disciplines such as evolutionary psychology and architecture to not only develop a diverse bio-cultural connection but to show how this connection tackles sustainability, in a holistic and systemic sense. Moreover, the paper takes an integrative view of sustainability, which effectively means that it embraces the different emergent tensions. (...) Three specific tensions are explored: efficiency versus resilience, organizational versus personal agendas and isomorphism versus institutional change. In order to illustrate how the Biophilic Organization could potentially provide a synthesis strategy for such tensions, healthcare examples are drawn from the emerging fields of Biophilic Design in Singapore and Generative Design in the U.S.A. Finally, an example is provided which highlights how a Taoist cultural context has impacted on a business leader in China, to illustrative the significance of a transcendent belief system to such a bio-cultural narrative. (shrink)

Existe-t-il dans l’œuvre de Paul Ricœur, comme on l’a dit, une forme de dissymétrie entre le champ de la métaphore et celui du récit? Dès La métaphore vive, la référence à Northrop Frye et à Nelson Goodman va permettre de ressaisir pleinement l’unité de la sphère poétique. La métaphore vive et Temps et récit sont alors présentés comme deux ouvrages jumeaux. Paul Ricœur explique notamment que la poésie lyrique a, elle-même, le pouvoir de produire une “mise en intrigue,” et, qu’en (...) ce sens, “le sentiment articulé par le poème n’est pas moins heuristique que la fable tragique.”, 309.) En suivant certaines références faites dans ces deux livres jumeaux – où peut se lire la dialectique entre “découvrir et créer,” “trouver et projeter” –, il est alors possible de faire apparaître un fil conducteur des analyses où s’annonce, à titre de perspective, une pensée générale de l’acte créateur. L’œuvre d’art y devient expérience, épreuve d’une conception “tensionnelle” de la vérité, dialectique entre “expérience d’appartenance” et “pouvoir de distanciation.”. (shrink)

This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked (...) on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images. (shrink)

The ArgumentBehind the dispute over the relative priority of theory and experiment lie conflicting philosophical images of the nature of scientific inquiry. One crucial image arose in the 1920s, when the logical positivists agitated for a “unity of science” that would ground all meaningful scientific activity on an observational foundation. Their goals and rhetoric dovetailed with the larger movements of architectural, literary, and philosophical modernism. Historians of science followed the positivists by tracking experimental science as the basis for scientific progress. (...) After World War II, historians and philosophers of science created an antipositivist movement, inverting the positivist idea that observation had epistemic priority. But this counter-movement retained the modernist aspiration to unity, now chaining observation to theory. Once again historians of science, following their philosophical colleagues, illustrated the new modernism with historical instances of observation dominated by theory.Either reductionist scheme, by privileging one activity over the other, dictates an overly constrictive periodization. We need a wider class of periodization models that will allow instrumentation, experimentation, and theory a partial autonomy without granting any one the sole legitimate narrative standpoint. Such a heterogeneous representation of historical traditions may, surprisingly, make better sense of the perceived coherence of activity across theoretical transitions than the monolithic modernist representation of science it displaces. (shrink)

L’objectif de ce texte de Ricœur est de relier mémoire et narrativité en prenant appui sur l’exemple de l’architecture. « J’adopte, écrit le philosophe, la définition la plus générale de la mémoire – celle que l’on trouve dans un petit texte d’Aristote précisé-ment intitulé De la mémoire et de la réminiscence, et qui reprend d’ailleurs des nota-tions, en particulier de Platon dans le Théétète, concernant l’eikôn, l’image: « rendre présent de l’absence », « rendre présent de l’absent » ; ainsi (...) que la notation qui dis-tingue deux absents : l’absent comme simple irréel, qui serait donc l’imaginaire, et l’absent-qui-a-été, l’auparavant, l’antérieur, le proteron. Ce dernier est, pour Aristote, la marque distinctive de la mémoire quant à l’absence: il s’agit donc de rendre pré-sente l’absence qui-a-été. J’ai trouvé une grande complicité de pensée aux deux ex-trêmes de notre histoire de l’Occident, entre les Anciens − avec cette idée de l’absence rendue présente et de l’antériorité − et un propos de Heidegger, auquel je tiens beau-coup, quel que soit mon éloignement de son idée de l’être-pour-la-mort: la pensée qu’il faut dédoubler notre concept du passé en ce qu’il appelle le révolu, le vergangen, et ce-qui-a-été, le gewesen. Du même coup, on rend justice à la définition des Anciens, car l’auparavant-rendu-présent est doublement marqué grammaticalement: il n’est plus, mais il a été. Et il me semble que c’est la gloire de l’architecture de rendre pré-sent non pas ce qui n’est plus mais ce qui a été à travers ce qui n’est plus. ». (shrink)

The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted (...) to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, The Routledge Companion to Aesthetics is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)

The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations. Introducing a concept of intention into literary analysis that supersedes existing rhetorical (...) theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument. Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other. _Intentions_ combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment. (shrink)

Truth is attributed by hermeneutical phenomenology not only to science but also to art and literature. According to Ricoeur, its veritable bearer is the expression of experience that can take artistic and literary forms as well as scientific ones. However, truth in this sense cannot be defined as a correspondence with a ready-made reality, nor can it be reduced to any internal coherence in our knowledge of the world. What is, then, its precise meaning in this context? The two terms (...) mentioned in the title—'redescription' and 'refiguration' of reality—indicate the two answers Ricoeur gives to this question. The similarities and the differences between these two answers are submitted to an inquiry in the following paper, which, relying upon Ricoeur, adumbrates the outlines of a phenomenological and hermeneutical approach to truth. (shrink)

This article explores an overlooked motif in the Critique of Pure Reason: the Damsel in Distress. Kant uses the trope to motivate his first Critique on a narrative level. Reason is depicted as a high-born female subject in a hopeless predicament, unable to free herself. A hero rescues her, not by liberation, but by discipline, mirroring the myth where the rescued female is appropriated through marriage. The paper examines the parallels between this popular trope and the narrative of the first (...) Critique, arguing that Kant’s choice of this motif is due to cultural and political biases. While this narrative aligns with Kant’s goal of establishing philosophy as a strict science, it marginalizes the also present, progressive potential of Kant’s concept of the highest faculty as a hermeneutical, world-making, and orienting capacity as means for universal cum critical thinking. The discussion proceeds from (1) argumentatively relevant methodological considerations, to showing that Kant (2) does use the damsel in distress in the Critique of Pure Reason. Subsequently, (3) with regard to the reasons for the choice of the narrative, it is argued that it is based on the convictions about the nature of women that Kant advocates in the Observations on the Beautiful and the Sublime and in his Anthropology. (4) Insofar as narratives and metaphors shape convictions and delineate the realm of the conceivable, Kant’s narrative choice undermines his own conception of reason, according to which the highest faculty is to be understood positively as an active, hermeneutic and orienting ability as well as a selfreflective basis for critical thinking. The discussion ends (5) with a conclusion. (shrink)

This book is a phenomenological and hermeneutical investigation into the nature of historical imagination. Carefully defining historical imagination, the book probes the relationship between the imaginative and the empirical, as well as the relationship between historical understanding and self-understanding.

Nous publions, en ouverture de ce numéro d’Etudes Ricœuriennes / Ricoeur Studies, un article de Paul Ricœur intitulé « Architecture et narrativité ». Ce texte est la reprise d’une communication délivrée à Paris en 1996 sous le titre: « De la mémoire ». Desti-née au Groupe de réflexion des architectes, cette rencontre était organisée par la Di-rection de l’Architecture et du Patrimoine – rattachée aujourd’hui à la Direction géné-rale des patrimoines. Le texte fut publié en 1998 dans la revue Urbanisme. (...) Si l’architecture n’est pas habituellement un objet d’étude de Ricœur, le philosophe l’a néanmoins souvent intégrée à une pensée qui s’est elle-même définie comme anthro-pologie philosophique en élaborant une herméneutique de la voie longue. Ricœur a pu notamment situer l’architecture, dans Histoire et vérité, soit comme un « “monde” in-séré dans le monde », soit comme un mode de « l’incorporation » des « images de l’homme qui font toute la réalité de la culture ». La période qui s’étale de Temps et ré-cit (1983- 1985) à La mémoire, l’histoire, l’oubli (2000) ne cesse de développer la phi-losophie du récit, et étend même l’usage de concepts nés dans un premier contexte à d’autres domaines de la pensée. Le présent article peut être placé dans ce cadre. L’architecture est un domaine qui, d’une manière générale, sort du domaine des thé-matiques explicitement étudiées par le philosophe. Or, et c’est ce qui fait l’intérêt de ce texte, Ricœur propose d’appliquer à l’architecture le paradigme élaboré dans Temps et récit. (shrink)

L’objectif de ce texte de Ricœur est de relier mémoire et narrativité en prenant appui sur l’exemple de l’architecture. « J’adopte, écrit le philosophe, la définition la plus générale de la mémoire – celle que l’on trouve dans un petit texte d’Aristote précisé-ment intitulé De la mémoire et de la réminiscence, et qui reprend d’ailleurs des nota-tions, en particulier de Platon dans le Théétète, concernant l’eikôn, l’image: « rendre présent de l’absence », « rendre présent de l’absent » ; ainsi (...) que la notation qui dis-tingue deux absents : l’absent comme simple irréel, qui serait donc l’imaginaire, et l’absent-qui-a-été, l’auparavant, l’antérieur, le proteron. Ce dernier est, pour Aristote, la marque distinctive de la mémoire quant à l’absence: il s’agit donc de rendre pré-sente l’absence qui-a-été. J’ai trouvé une grande complicité de pensée aux deux ex-trêmes de notre histoire de l’Occident, entre les Anciens − avec cette idée de l’absence rendue présente et de l’antériorité − et un propos de Heidegger, auquel je tiens beau-coup, quel que soit mon éloignement de son idée de l’être-pour-la-mort: la pensée qu’il faut dédoubler notre concept du passé en ce qu’il appelle le révolu, le vergangen, et ce-qui-a-été, le gewesen. Du même coup, on rend justice à la définition des Anciens, car l’auparavant-rendu-présent est doublement marqué grammaticalement: il n’est plus, mais il a été. Et il me semble que c’est la gloire de l’architecture de rendre pré-sent non pas ce qui n’est plus mais ce qui a été à travers ce qui n’est plus. ». (shrink)