Making use of Kafka's The Trial, this book explores the theory behind modern legal discourse. In order to investigate the subject the author explores a range of questions: how and why does the legal discourse of a modern state conceal the experienced meanings of a non-knower; if one has been harmed, does the legal discourse recognize the harm; does the harm sometimes slip through the juridical categorizations; if recognized, is the harm re-presented through a vocabulary, grammar and gestural style which (...) are familiar to the expert knowers but not to the person harmed? (shrink)

‘The co-production of meaning’ is a popular, widely-used, but under-defined concept. To better understand the co-production of meaning, we shall attempt to develop an account of co-production through phenomenological psychopathology. Through Hans Georg Gadamer’s remarks on ‘the hermeneutic problem of psychiatry’, we distinguish kinds of contingent and intrinsic obstacles to 'co-production'. In calling attention to these obstacles, we problematise the concept of ‘co-production’ in public mental health, revealing it to be more complex than originally thought. (...) We conclude that new developments in phenomenological psychopathology can be used to overcome some of the limitations of ‘co-production’. (shrink)

In reviewing the contents of the first to five speakers, we back up to the United States in writing "real and reasonable method" when the issues faced in: scientific research methods than in the general concept Concept in humanities research methods; and people in the academic literature on the low-order. We first consider how the amount of Dilthey and Heidegger deal with these issues. Ⅰ. Natural sciences and humanities approach argue Dilthey tried to explain the expression of human literature, there (...) is a independent but equally effective method of theoretical foundation. In German, Geisteswissenschaften range widely from the arts and sociology. The rise of hermeneutics, Dilthey, in his famous thesis, the mean deep to begin with Homer to explain the hope臘who traveled through Roman times and hope臘. However, Dilthey still seek to achieve "universal and effective " results, which makes him turn to the scientific method. Heidegger's teacher, Hu stopper Seoul , rather than with the mathematical background of the humanities, to use phenomenology to philosophy as a "rigorous science ". Conversely, neural science and philosophy with Heidegger humanities background. This makes Heidegger's hermeneutics of Dilthey and his interest. Heidegger was a critic of scientific objectivity, and even have commentaries description: "Scientists do not think" . His search for the source of the problem of modernity to Descartes who, because of Cartesian subjectivity of the world as a projection. Ⅱ. Up to the U.S. desire to restore the respect for human studies of up to U.S. desire to restore respect for the human sciences, but he does not find the key steps in Dilthey, but in Heidegger's "Art works of origin >. Ⅲ. Up to the United States after the Western aesthetic of Kant's critique of Gadamer to use his real art of management for the new hole to criticize the police after Kant the aesthetic development. This is the "true management and methods" section of the important elements. Ⅳ. Heidegger in breakthrough in the art lecture on Heidegger, providing up to restore the emphasis on the United States who required breakthrough in the planning literature. Ⅴ. Methods exist regardless hermeneutics the implications of Gadamer's philosophical hermeneutics can be seen as a new understanding of the analysis, so that his exposure to critical science and humanities in the nature of the two methods. Ⅵ. The universality of hermeneutics Gadamer in the "real and reasonable method" after the publication of a thesis advocated, he analyzed the universality of understanding can be applied in science and humanities in the training. Regardless of this guide provide us some background to explore the "real management and methods" in the 14 key concepts, these concepts will be in the seventh, eight speakers presented. After reviewing the content of Lectures 1-5, we turn to the issue that Gadamer was confronting when he wrote Truth and Method: the general sense of the superiority of scientific methods of research over humanistic methods, and the lower status of the humanities in academe . We first consider this issue in Dilthey and Heidegger. Section Ⅰ: The Contest over Methods in the Natural and Human Sciences Dilthey attempted to articulate a separate but equally valid methodological basis for interpretation in the humanities. In Germany, the range of the Geisteswissenschaften was wide, from art to sociology. In his famous essay on the rise of hermeneutics, Dilthey started, significantly, with the Greek interpreters of Homer and moved up through Greek and Roman times. Nevertheless, Dilthey was still seeking to achieve "universally valid" results , which moved him in the direction of scientific methods. Heidegger's teacher, Husserl, had a background in mathematics rather than the humanities and wanted to use phenomenology to make philosophy into a "rigorous science." Heidegger, in contrast, had a humanistic background in theology and philosophy and especially Greek philosophy. This caused him to be interested in Dilthey and his hermeneutics. Heidegger was a critic of scientific objectivity and once even remarked, "The scientist does not think." He traced the problems of modernity back to Descartes, who saw the world as a projection of his subjectivity. Section Ⅱ. Gadamer's Desire to Restore Respect to the Human Studies Gadamer desired to restore re spect to the human sciences, but he found the decisive step for doing so not in Dilthey but in Heidegger's The Origin of the Work of Art. Section Ⅲ: Gadamer's critique of Western aesthetics since Kant Gadamer used his new insight into the truth of art to criticize the development of aesthetics since Kant. This is a major element in the first section of Truth and Method. Section Ⅳ: Heidegger's Breakthrough in "The Origin of the Artwork" Heidegger's lectures on art offered Gadamer the breakthrough he needed in his project of restoring respect to the humanities. Section Ⅴ: The Implications of an Ontological Hermeneutics for Method Gadamer's new philosophical hermeneutics as an analysis of understanding put him in a position to criticize method per se in both the sciences and humanities. Section Ⅵ: The Universality of Hermeneutics In an essay published after Truth and Method Gadamer moved toward asserting the universality of his analysis of understanding as applying both to scientific disciplines and to the humanities. Understanding here was understanding universally, in general, in all respects. With this introduction we have some background for exploring the fourteen key concepts in Truth and Method itself that will be presented in lectures 7 and 8. (shrink)

Offering the first book-length study of a central concept in modern European philosophy to appear in the English-speaking world, this book provides an authoritative collection of articles that systematically address the concept of productive imagination in pre-Kantian philosophy, Kant, German Idealism, Phenomenology and Hermeneutics.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Paradox of Subjectivity: The Self in the Transcendental TraditionJeffrey EdwardsDavid Carr. The Paradox of Subjectivity: The Self in the Transcendental Tradition. New York/Oxford: Oxford University Press, 1999. Pp. xii + 150. Cloth, $35.00.This book presents a response to contemporary attacks on the concept of the subject. Carr investigates the historical background to the criticisms of the "Metaphysics of the Subject" that are found in French post-structuralist thought (...) and in critical theories descended from the Frankfurt School. In explaining this background, he targets the widely held assumption that the history of modern philosophy can best be understood in terms of a fundamentally unified conception of the subject and subjectivity that unfolds inevitably from Descartes and culminates in twentieth-century phenomenology and existentialism. Those who share this assumption fail to recognize the significance of what Husserl (in the Crisis of European Sciences) called the "paradox of subjectivity," which derives from the necessity of understanding the knowing subject both as a subject for the world and as an object in the world.The origins of contemporary interpretations of the metaphysics of the subject are found primarily in Heidegger's thought. Carr thus devotes the first chapter of this study to the critical assessment of Heidegger's view of modern metaphysics starting with Descartes. For Heidegger, Descartes took over the dominant concept of substance from traditional ontology and transferred it to the human subject. The Cartesian subject, then, was revealed as an underlying hypokeimenon that absorbs or overpowers the world by reducing it to the representational contents of the thinking thing. Moreover, Heidegger maintained that modern thinkers did not go beyond the reductive conception of subjectivity intrinsic to the Cartesian metaphysics of substance. This Heideggerian judgment applies to the major modern thinkers. Even Kant and Husserl figure as representatives of a tradition in which "the knowing subject takes the role of substance; everything is reduced to first properties, whether as immanent in consciousness, object for the subject, or, as in transcendental philosophy, construct and product of subjective activity" (Carr, 31).In chapters 2-4, Carr argues that the Heideggerian interpretation is inadequate with respect to Kant and Husserl. In supporting this position, Carr emphasizes the close affinities between Kant's and Husserl's conceptions of objectivity for consciousness and between their portrayals of subject and self. Specifically, Carr argues (1) that both thinkers were committed to the representationalist view of cognition that is typical of other major modern philosophers; and (2) that both presented parallel, and indeed unifiable, accounts of the relationship between the transcendental and the empirical self.The key to explaining the fundamental agreement between Kant's and Husserl's transcendental theories lies in the concept of intentionality. There are, of course, significant differences between Husserl's phenomenological method and the procedure of inquiry into the possibility conditions of objective experience that Kant follows in the Critique of Pure Reason. Still, Husserl's portrayal of the intentional character of consciousness provides the basis for understanding how Kant's account of transcendental apperception and the original synthetic unity of self-consciousness grounds a non-representationalist theory of the subject's relation to a world of objects. Husserl's portrayal of intentionality also enables us to see how Kant's concept of transcendental [End Page 609] apperception allows for a description of the empirical self as something that is part of the objective world. Conversely, the Kantian distinction between the transcendental and the empirical self, or subject, sheds light on the sense of the distinction that Husserl draws between transcendental and natural reflection. In natural reflection, I "appear to myself as an empirical subject within a world to which I relate in causal-bodily and intentional [i.e., purposive]-motivational ways" (89). On the other hand, the consciousness of self at issue in transcendental reflection involves my awareness of the meaning-constituting cognitive accomplishments by which I am consciousness of the world as the horizon of possible objects and, at the same time, as something transcendent to consciousness.It is Husserl's conception of intentionality, combined with Kant's understanding of the transcendental-empirical distinction, that allows us to grasp the full significance of the paradox... (shrink)

James Mensch, 1970 No philosophical activity is immune from the question of its grounds, its origin, its arche. Philosophizing is not carried out in a vacuum. The philosopher in any inclusive view cannot be seen to be a being set apart from the world about which he philosophizes. He is distinct neither from the world nor its history considered in its totality. A truth so obvious requires only a brief meditative reflection: A philosopher sits writing at his desk. Without even (...) raising his head, he directs his glance about him. What is the reality that appears? The most immediate objects of his perception, the pen, the paper, the desk, the printed book which lies open before him, even the words which he writes, all have a historical character. Paper, pen, desk and book, these objects are all the products of a historically defined type of work. They are the creations, the phenomenal manifestations of modern technological work.1 Even the words which he writes presuppose a history, a personal history insofar as these words are not empty signs but rather consist in meaningfully arranged characters, which he has learned to write and which someone has, therefore,. taught him to write. The meaning of words has to be won through a continuing encounter with reality, an encounter both personal and historically transcendent of the individual person, an encounter which is never the same, never repeated in an identical fashion. What is the reality that is present to him now, what is the totality of all that is now confronting us as beginning philosophers? As the above observations point out, the briefest of reflections leads us to the questions of the history and genesis of the things that confront us. But what is the condition of this confrontation, this encounter between the philosophizing subject and the world which he wishes to comprehend? Aristotle noted that all men naturally desire to know. Why? Our question is actually, “How does Being come to know itself?” This, of course, can be... (shrink)

This essay considers the foundations of reasonable evaluation in the arts. These we argue concern the relations that constitute our experience of art, and the ontology of the art work itself. The being of the artwork, the experience and the interpretation of it all involve over-lapping modes of part–whole relations. The experience of meaningfulness is not an experience of a singular object or framework of meaning as closed and complete but an experience of relational meaning whereby exposure to one set (...) of meaningful relations transforms another in an on-going and open manner. This suggests that the experience of art itself provides the norms for reasonableness of evaluation. These norms are not rules in the sense of offering a method. They are characteristic of the features of an experience of meaningfulness itself. The essay suggests that the reasonableness of a response to a work can be considered in terms of its appropriacy relative to the context of its own horizon and the horizon surrounding the production of the work; its plausibility, that is, its internal coherence and consistency as a reading; whether the structure of the response is consistent with, supplements, or expands the intelligible content of the work; and whether it gives a sense of the latent possibilities still held within a work and intimates where the movement of a work’s subject-matter might. (shrink)

Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of the second half of the (...) twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological method, since we identify the existential intentions that underlie modern art. We also use the hermeneutic method as we uncover hidden meanings in the works of women artists. The scientific novelty lies in the fact that we identify and describe specific stylistic features characteristic of the work of women artists of the second half of the twentieth century, which has not been done before. Results. We conducted a philosophical and cultural analysis of the works of women artists: Berthe Morisot, Hannah Höch, Frida Kahlo, Alice Neel, Louise Bourgeois, Sarah Lucas, and identified common features characteristic of their work. We also conducted a philosophical and cultural analysis of art feminism as a phenomenon. Conclusions. Among the stylistic features that unite the work of women artists of the second half of the twentieth century, we have identified the following: appeal to purely female handicraft techniques (“fiber art”); the subject of art is the inner world of the artist’s own feelings and experiences; art is often considered as a kind of art therapy, a way to survive the traumas suffered; a female artist has more empathy for the model and her mental state than male artists; women artists are characterized by a rethinking of the attitude towards the body, an image of the body as unaestheticized, non-normative, unadorned, irony towards the body; for women artists, art often becomes a way to fight for their rights, gender and racial equality. (shrink)

Kant's well-known statement from the “Critique of Practical Reason” (§ 7) that the consciousness of the basic law of pure practical reason (or the customary/moral law) can be called a fact of reason (V, 31.24) has not yet become the subject of adequate attention of domestic researchers. In the “Critique of Practical Reason”, Kant justify his famous categorical imperative by appealing to the “fact of reason” (§ 7). A closer reading of this passage reveals that it refers to a “fundamental (...) law of pure practical reason” and its “consciousness” is called “a fact of reason”. It is likely to think that Kant makes a “naturalistic fallacy” when he tries to justify “ought” (law) from “is” (fact). An analysis of the broader context of the use of the term “fact”, which occurs in the Critique in general 11 times, proves that its denotation is a moral law, which is explained in the corresponding train of thought. A special problem of interpretation is the explanation of the genitive in the expression “a fact of reason” [ein Factum der Vernunft]. It is common to read it as genitivus subjectivus (the fact is a product (act) of the reason, the fact arises thanks to the reason) and as genitivus objectivus (the reason itself is a fact, something factual). But from the standpoint of modern studies of Kant its reading as genitivus auctoris (Willaschek, Wolff, Noller) is promising. Kant’s specific use of the Latin form “ein Factum” in other works, which has the meaning not of “fact”, but of “imputable act” also, testifies in favor of this. Starting with Dieter Heinrich’s article “The Concept of Moral Insight and Kant’s Doctrine of the Fact of Reason” (1960), many researchers interpret the thesis of the “fact of reason” as Kant’s rejection of the attempt at the deduction of moral insight in the “Groundwork of the Metaphysics of Moral” (1785). However, as modern studies (Riedel, Wolff) show, this interpretation is not convincing enough. There are sufficient reasons to believe that it is Kant’s moral and legal doctrine of imputatio facti can explicate an enigmatic passage of the II Critique. (shrink)

This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel’s Hermeneutics by Paul ReddingTerry PinkardPaul Redding. Hegel’s Hermeneutics. Ithaca: Cornell University Press, 1996. Pp. xvi + 262. Cloth, $39.95. Paper, $16.95.Following on the heels of fruitful reception of Kant at work in the last several decades in English-speaking philosophy, one of the most productive lines of interpretation of [End Page 327] Hegel has tried to reconstruct Hegel’s thought in light of its relation to Kantianism. Paul Redding’s (...) new work carries this line further. As Redding sets matters up, Hegel builds explicitly on the unfinished “Copernican” move in Kant’s work, which, as the “Copernican” metaphor suggests, stresses the way in which our particular perspectives on the world must be understood as located within a set of conditions that, although not themselves experienced, are conditions of that experience. It calls, that is, for an investigation of how and whether “subjective” and “objective” points of view relate to each other. The “communicative” interpretation of Kant’s “Copernican” move sets up the Hegelian development of it: For one agent to be able to understand the claims of another’s experience, he must be able to conceive the other as an object-agent in the world and a subjective-agent that has a point of view on the world, and the other must likewise see him in the same way. Redding’s thesis is that Hegel appropriated the way that Kant, Fichte, and Schelling tried to provide such an account, and without falling into the pitfalls they did, developed a recognitive, “intersubjective,” theory of consciousness that successfully gives the proper account of how these two points of view are both necessary and relate to each other.Redding’s interpretation thus lays great weight on the short section of “master and servitude” in the Phenomenology as the key to the structure of all of Hegel’s thought. Each agent can recognize his own point of view only by virtue of recognizing the points of view of other agents, and this kind of recognition can arise when “an intention is common to subjects facing each other from opposed points of view” (111). The structure of recognition that emerges is, of course, quite complex and full of self-reflexive moments, but what emerges is Geist, spirit, the “I that is a We and the We that is an I,” which is not itself an entity having a point of view but a structure of self-conscious, mutually recognizing beings. Thus, at the basis of Hegel’s philosophy is a hermeneutical theory of how agents address and understand each other—that is, how they interpret each other’s acts, intentions, and expressions. Redding puts this interpretation to work in a short account of the progression of the Phenomenology, which he takes to be an account of the way in which the European community has historically failed to realize the kind of institutional and social structures of mutual recognition that would create the “conditions adequate for rational and free intentionality” (141) until modern times. The end of the Phenomenology—“absolute knowing”—is thus not the achieving of a “body of complete or final knowledge” but of the “(tragic) insight that particular and determinate bodies of knowledge are always conditioned and so perspectival” and thus calling for hermeneutical activities of interpretation (140).To make good on his account of the central status of “recognition” (and therefore of “hermeneutics”) to Hegel’s enterprise, Redding gives a short but quite insightful sketch of how Hegel’s notorious Science of Logic might be understood as a formalization of the logic of such recognitive practice, an account of how it is that agents can adopt these complex patterns of recognizing their own points of view as being recognized by others. Hegel’s Logic depends on the rejection of there being any “immediate” truths that can serve as absolute starting points or premises and from which we can then derive “mediated” true conclusions. There are no such “truths” outside of the circle of thought; this is, Redding argues, “characteristic of that ‘hermeneutic circle’ within [End Page 328] which, according to Heidegger and Gadamer, thought always moves,” namely, “a structure of reciprocal recognition... [as... (shrink)

This article offers a critique and reformulation of the concept of empathy as it is currently used in the context of medicine and medical care. My argument is three pronged. First, that the instrumentalised notion of empathy that has been common within medicine erases the term’s rich epistemological history as a special form of understanding, even a vehicle of social inquiry, and has instead substituted an account unsustainably structured according to the polarisations of modernity. I suggest that understanding empathy (...) by examining its origins within the phenomenological tradition, as a mode of intersubjective understanding, offers a different and profitable approach. Secondly, I argue that the appropriation of empathy in medicine means that, ironically, empathy can function as a technique of pastoral power, in which virtue, knowledge and authority remain with the doctor. And thirdly, empathy is in danger of being resourced as a substitute for equity and funding within health systems. I conclude however with hope for the productive possibilities for empathy. (shrink)

John Llewelyn's two books concern theories of understanding and signification in continental philosophy. Beyond Metaphysics? examines Heidegger's argument that existentials constitute a prescientific understanding of the "categories of scientific knowledge." He explores how the hermeneutic circle is beyond metaphysics, if metaphysics is regarded as the epistemological relation of objects presented to subjects. Following a chapter on how Husserl's phenomenology anticipates Heidegger's fundamental ontology, the remainder of the book is devoted to examining the extent to which some Continental philosophers agree or (...) disagree with Heidegger's notion of the fore-structure of understanding. In the more recent book, he extends his study of the break from subject-object dualism in modern theories of meaning to consider Derrida's anasemiology or problematizing of the logic of opposition that characterizes Western philosophy. The two books, therefore, are closely united, and the reader is well advised to study the two in order of publication. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...) topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

Part I. Hermeneutical theory and human experience. Interpretation and experience -- Interpretation and life connection -- Phenomenology and hermeneutics -- Understanding and linguistic existence -- Part II. Intercivilizational encounters : interpretation and ethical subject. Mediation : the hermeneutical self and moral self -- Interpretation and ethics of virtue : Aristotle revisited -- Intercivilizational encounters : the mean in Confucian ethics -- Thomas Aquinas : theological virtue ethics and analogy -- A comparative religious study of Aquinas and Mengzi -- Part III. (...) Aftermath of modernity : discourse reason and ethics of the other. Interpretation in long route and social location -- Discourse ethics and communicative rationality -- Neo-Aristotelian ethics and neo-Kantian framework -- Aesthetics of existence and ethics of alterity -- Part IV. Intercivilizational reconstruction in the aftermath of colonialism. Intercivilizational reconstruction and global-critical inquiry -- Engaging the Cave and the Butterfly : dialectics of Enlightenment and neo-Confucian self -- Interpretations as conflict and creativity : retrieval of Wang Yangming -- Concluding reflection : the hermeneutical self and an ethical difference -- Epilogue: Interpretive reason and postcolonial irregularity. (shrink)

The concept of the subject is at the core of many social movements that attempt to empower disadvantaged groups by identifying a basic subjectivity underlying and uniting such groups. Though otherwise supportive of such movements, recent continental philosophers and social theorists such as Althusser, Derrida, and Butler have criticized such notions of subjectivity, arguing that they presuppose false and harmful ideas of unity and substantiality as the ‘true’ essence of these groups. In this paper, I propose that one possibility for (...) resolving this debate can be found in the work of Western Marxists such as Georg Lukács, Theodor Adorno, and Walter Benjamin. I argue that they ground an authentically subjective selfhood on the distinct meaningfulness of individual consciousness. Identifying phenomenological motifs in the way they describe consciousness, I suggest that they define meaning by the way different particular experiences recall or relate to one another. By interpreting the many possible meanings of experience, subjects are able to build up an image of themselves, while collective subjectivity can be grounded on the exegesis of shared experiences. Because such meaningfulness is genuinely sui generis, emerging within consciousness, action in accordance with such images counts as autonomous; at the same time, meaning is sufficiently fluid that there can never be one single correct interpretation of it. Ultimately, the Western Marxists suggest, it is in the constant formulation and reformulation of images of oneself through reinterpretation of one’s experience that constitutes subjective selfhood. (shrink)

. The article substantiates the relevance of complex researches aimed at expert understanding of the humanistic potential of ethical ideas of different religious traditions and clarifying the conditions of their effectiveness in modern reality. Methodological guidelines for such studies are Kant's ethicotheology; ethical doctrine of N. Hartmann; Berdyaev's ethics of creativity; E.Fromm’s demarcation of the foundations of authoritarian and humanistic religiosity; D.Ikeda's ideas about the primacy of cultural dialogue of religions over their dogmatic or corporate isolationism. The author models the (...) possibilities of synthesis of comparative, dialectical, phenomenological, hermeneutic, synergetic methodological strategies in understanding of the value vectors of religious ethics. It is noted that the content of the term "religious ethics" is not limited to a system of canonized, "once and for all" formulations, norms and prohibitions of a particular religion. Religious ethics is a broad value and social space of human interaction and cultural creation. No less than canons and dogmas, it is also defined by practical patterns of forming relationships in a particular religious community as a hotbed of intense value exchange. The specificity of the principle of humanistic synergy of different traditions religious-ethical ideas is substantiated. It is proved that in the conditions of a globalized, post-information society there are many opportunities for constructive action of this principle. After all, religious meanings are penetrating to the consciousness of people not only within the confessional upbringing and “catechization”. Often they are mastered through individual, autonomous forms of socialization of the individual. That is, the level of cultural development, education and self-education, and involvement in one or another information "field of attraction" are important here. The author of the report identifies a specific vision of the value core of a number of religious traditions of the world, which can be productively used for the humanistic synergy of relevant religious and ethical ideas. He summarizes this core with the example of humanist ideas and practical examples of Hinduism, Jainism, Confucianism, Judaism, Christianity and Islam. At the same time, he identifies the value antipodes of humanistic virtues present in these religious traditions and analyzes the ways of their social cultivation preventing The emphasis of the study is extrapolated to the Ukrainian context of the functioning of religious and religious education, as well as to the issues of applied ethics and civil responsibility of religious communities, their leaders and activists. It is concluded that among the important conditions for the humanization of the functioning of religious structures in modern society – the optimization of the communicative "climate" of educational projects, the development of practical dialogue with respect to other religions and worldviews, the active introduction of philosophical and academic religious and religious studies, which educates future religious leaders. Accordingly, the prospects for further research in this methodological key lead to a detailed reflection on the educational, communicative, media, cultural and aesthetic, legal conditions of harmonizing the humanistic value orientations of the ethics of religions and the practice of living of confessions and religious communities. (shrink)

_John Dewey and Continental Philosophy_ provides a rich sampling of exchanges that could have taken place long ago between the traditions of American pragmatism and continental philosophy had the lines of communication been more open between Dewey and his European contemporaries. Since they were not, Paul Fairfield and thirteen of his colleagues seek to remedy the situation by bringing the philosophy of Dewey into conversation with several currents in continental philosophical thought, from post-Kantian idealism and the work of Friedrich Nietzsche (...) to twentieth-century phenomenology, hermeneutics, and poststructuralism. This unique volume includes discussions comparing and contrasting Dewey with the German philosophers G. W. F. Hegel, Friedrich Nietzsche, Martin Heidegger, and Hans-Georg Gadamer on such topics as phenomenology, naturalism, organicism, contextualism, and poetry. Others investigate a series of connections between Dewey and contemporary French philosophy, including the notions of subjectivity, education, and the critique of modernity in Michel Foucault; language and politics in Jacques Derrida; and the concept of experience in Gilles Deleuze. Also discussed is the question of whether we can identify traces of _Bildung_ in Dewey’s writings on education, and pragmatism’s complex relation to twentieth-century phenomenology and hermeneutics, including the problematic question of whether Heidegger was a pragmatist in any meaningful sense. Presented in intriguing pairings, these thirteen essays offer different approaches to the material that will leave readers with much to deliberate. _ John Dewey and Continental Philosophy_ demonstrates some of the many connections and opportunities for cross-traditional thinking that have long existed between Dewey and continental thought, but have been under-explored. The intersection presented here between Dewey’s pragmatism and the European traditions makes a significant contribution to continental and American philosophy and will spur new and important developments in the American philosophical debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 133-134 [Access article in PDF] Book Review Heidegger's Concept of Truth Daniel O. Dahlstrom. Heidegger's Concept of Truth. New York: Cambridge University Press, 2001. Pp. xxx + 462. Cloth, $59.95. This somewhat trite and overly generic English title, from a Heideggerian perspective, is better specified by the title of the German original, which was perhaps too provocative for an analytical English (...) audience conditioned by Carnap's critique of Heidegger: "The Prejudice of Logic: Investigations into the Theory of Truth of the Early Heidegger." The author's more-than-literal, amplifying and supplementing translation of his own German text of 1994 aims to face up to all the "hard interpretive decisions" (xxii) that Heidegger poses by leaving no German term uninterpreted or untranslated, including even Dasein as "being-here." The translation is thus more illuminating from the start in the sense in which "logic" too narrowly conceived and claimed to be the sole arbiter of truth becomes a "disabling" prejudice (xvi) rather than the "enabling prejudice" that logic normally is for any discourse and thought. Dahlstrom's focus is on the early and so "logical" Heidegger (1912-29), before he decided to lose even logic (better, "onto-theo-logic") in a more original tornadic "whirl" of abyssal questioning in the "turning." Hence, the opening pages point to Heidegger's quest for a more original philosophical (transcendental, phenomenological, ontological, hermeneutical) "logic of philosophy" (Emil Lask's phrase) that "produces" the fundamental concepts or categories for any field of being, including itself. This original productive logic of category formation "transcends" the formal logic of judgment while founding it.It is the transcendental and material logic that Heidegger found in Kant, which is oriented toward the spatio-temporal schematisms of the imagination that emerge from the transcendental aesthetic to mediate the application of the judicative forms of the understanding into befitting categories of reality. But Dahlstrom does not get around to detail this quasi-Kantian account of material logic, or Lask's version of it, which finds its fundamental stratum in the already categorized (i.e., conceptually interpreted) originally unitary object, prior to its distinction into form and matter, subject and predicate, etc. Lask calls this a priori categorized realm of intentionally structured meaning (intelligibility, truth) a "panarchy of the logos," which Heidegger will readily transform into his "hermeneutics of facticity" (double genitive: "life lays itself out, interprets itself") and identify with the prejudicative, prepredicative temporal realm of truth as "disclosedness" and "unconcealment." [End Page 134]But Dahlstrom does find, in Husserl's unpublished logic courses of the early twenties in which "Analyses of Passive Synthesis" are carried out, a "genetic logic" on the level of the "transcendental aesthetic" in the "complicated intentional systems" of the sensing human body situating itself by constituting the time and space of its world prepredicatively and prejudicatively, a "logic" or logos which accordingly "anticipates much of the analysis of being-in-the-world undertaken in Being and Time" (155). And yet Heidegger, who as Husserl's trusted assistant was granted generous access to such unpublished manuscripts, "remained silent" about these clear anticipations. Instead he criticizes Husserl publicly in his own courses, culminating in Being and Time, for neglecting the question of the "being of intentionality" as well as of the "sense" of being as such, which Heidegger finds in "timeliness" (Zeitlichkeit), the originary time of being-here. Yet in arriving at this temporal sense of being, Heidegger "clearly appropriates the horizonal (allegedly preobjective and presubjective) character of time-consciousness elaborated by Husserl." Why, then, "Heidegger's silence"? "These breakthroughs of Husserl's later thinking are not mentioned by Heidegger because he wants to appropriate them in his own way and without the framework out of which they arose. An injustice and a disservice is thus done to Husserl's phenomenology... [which is] the price of the philosophical maturity of its most famous student... [as] his thinking moves to a plane beyond the reach of Husserlian phenomenology and terminology" (169f).This in-depth discussion of Heidegger's relationship with Husserl... (shrink)

Although in the past qualitative research in the field of management did not achieve much acknowledgement, mainly due to the impossibility of synthesising subjective experiences into generally valid statements, there is now a recognition of the significant importance of it. This is due to dynamic changes in society and global challenges that place high demands on managers and put pressure on the need to come up with new creative solutions to problems. The qualitative approach allows understanding the value orientation and (...) the very ways of being of a manager, which is an important prerequisite for their self-development and learning. This paper highlights the intersections between the existential themes found in the research perspectives of existential hermeneutic phenomenology and Zen practice and proposes the development of a cross-cultural research framework that provides an interpretation of the lived experience of managers. The core existential insights that help to understand the lived experience of managers are the positive meaning of existential disruptions and dilemmas, authenticity of experience, and dialogical learning. (shrink)

Political sociologists have paid closer attention of late to the territoriality of political communities, and have even begun theorizing the theme of territoriality’s legitimation. To date, however, the field has mostly overlooked the topic of maps, the quintessential territorial tool. Thus, we know little regarding maps’ crucial role in shaping modern subjects’ relationship to territory. This article argues that “map-mindedness”—i.e., the effects of map imagery on how subjects experience territory—can be productively theorized by working through the social-scientific concept of “place.” (...) Using a range of modern and contemporary examples, I illustrate how maps can draw on and manipulate political subjects’ experience of place. Maps, I submit, allow political communities to render themselves more place-like, thus bridging the phenomenological distance between these abstract, territorially vast units and their “emplaced” subjects. More specifically, maps solve this “problem of distance” through three ideal-typical processes: 1) they render the political community as a proximate “object in the world”; 2) they present the political community as a body-like target for cathexis and identification; and 3) they mediate the traffic of meaning between the local and the national to produce a multi-scalar sense of place that can be harnessed in the service of the political community. Maps are a potent means of “re-personalizing” politics; their study suggests that territoriality is not only a form of “impersonal rule,” as recent works have observed, but always also implicated in the production of political subjects. (shrink)

This book present interdisciplinary research in the social sciences and humanities by connecting seemingly disparate sources through a sensitivity to endangered human values. It links reflections on the contemporary relationship between art and technology in a post-modern context, seeing art in terms of crossing boundaries and exploring virtuality. It deals with the consequences of economics colonising other disciplines, in terms of the processes by which the social becomes the economic. Using Jantsch''s evolutionary paradigm, the concept of self-transcendence is seen as (...) crucial for the understanding of human beings and their social systems. Incorporating recent thinking from the natural sciences, the learning process can be conceived as the life and activity of all complex systems, including those once conceived as organisms, machines, cultures or economies. Without the societal embrace of scientific and technological development no collective or individual meaning can be assigned to the production of new knowledge. The book seeks to recognise the point where a collective learning process becomes the heart of productivity, and where the shift from the hegemony of material labour to immaterial labour becomes fundamental. The author brings new understandings of art, the social, and technology together, based on the idea that history is not a story told in separate physical, social and spiritual spaces and that the most fundamental problem of today is how to find some shared meaning in a fractured world. The author analyses, at a global level, the process of the co-production of scientific and social order, of culture and technology, of life sciences and economic and political regimes. It rightly identifies the rise of the role of knowledge and the move of capital into life sciences as a new stage in the history of capitalism: what we can qualify as cognitive capitalism or biocapitalism. In this new era of capitalism, what is being manufactured and sold are not just tangible and non-tangible goods, whose increasing importance, as the author shows, poses unsurmountable theoretical problems to the theoretical apparatus of economic science. The increasing mercantilisation of the world appears at the same time as a bio-power, i.e. a set of instruments creating and controlling different forms of life, forms of communication, standards of socialisation, education, the individual and collective imaginary, etc. More fundamentally, the encounter of life sciences and the information technology integrates and subjects the most essential mechanisms of biological and social reproduction to the logic of capital valorization. To understand the complexity of these changes and the ethical and philosophical questions that the development of technology and sciences poses to the future of mankind one must break through the disciplinary barriers delineating different disciplines in social sciences and those separating social sciences from natural sciences. Professor Matko Mestrovic manages to tackle this challenge not only because of his impressive and masterful knowledge of different disciplines in the social and natural sciences, but he does it also owing to his capacity for theoretical elaboration that allows him to lay the foundations of a new transdisciplinary paradigm. This is why his work can raise the awareness of the general public on two issues: on a global and profound vision of the challenges posed by the new millennium; and on the need for a radical theoretical innovation bringing into question the disciplinary certitudes in develop a social science able to better understand the movement and the ambiguity of history. - Carlo Vercellone, Universite de Paris 1, Pantheon-Sorbonne Mestrovic provides a unique insight into the often forgotten relation between economics on the one hand and arts and culture on the other, demonstrating that these adomains function as a total social facticity and not as separate, entirely independent elements thereof. In doing so he is dispelling the illusions about the disciplinary self-containdness of individual forms of knowledge and is relying on those paradigms of contemporary scientific thought whose aepistemiological programs are based on close cooperation and aopening up and not on the persuasion about one''s own positions and dispositions. - Prof. dr. Rade Kalanj, Redovni profesor na Odjelu za sociologiju. (shrink)

The idea of antithetical human nature and the concept of man as a bivalent creature are heuristic to reveal the problem of human being.The traditional antinomic splitting of anthropological features into one’s own – another’s, immanent – transcendent, freedom – necessity, good – evil, happiness –misfortune, etc. acquires a specific coloring in the Ukrainian realities. Purpose is to reveal the ambivalence of the image of a person, which acquires special features in the Ukrainian realities. Methodological basis are the principles of (...) the phenomenological description of subjective experience, the means of historical and philosophical analysis, hermeneutical methods of understanding and interpretation.Discussion. These or those anthropological modes constitute the variability of the human (O.Bollnov, C.Jung, K.Jaspers, J.-P.Sartre, E.Fromm). The reasons for the mosaic nature of the human image are rooted in the existential inexhaustibility of the anthropological palette. The existence of man in the overtones of antinomies is evident in the studies of both domestic classics (V.Lypynsky, I.Franko) and modern Ukrainian philosophers (V.Malakhov, D.Sepety), and Western thinkers (V.Frankl, V.Tatarkevych, G.Hofstede). Conclusion. Controversial nature of the classical opposition of freedom – necessity turns in the Ukrainian realities into the opposition of “will” as an expressive meaningful constant and depressingly deathly “bondage”, and acquires tension of the binarism “freedom – death”. “Will” as the only state acceptable to a person, the authentically own, native way of being turns to a spectrum of modulations of the anthropological attribute of “oneself” as a native oecumene, a truly familiar and close space, opposed to the “alien” – land, people, language, custom, etc.The idea of parity of both – male and female – cores is quite adequate, since in Ukraine the Cossacks was an embodiment of perfect masculinity, “chivalrous nature”, similar to Western chivalry – with similar to chivalrous cult foundations (for example, the cult of the Mother of God and the cult of the Virgin Mary). After all, the ideology of the Cossacks demanded the convergence of the concepts of “nobleman” and “Cossack” as one who was “granted the liberties of a knightly people”.Controversial nature of the modes of life meaning, happiness disappears, losing expressive signs of confrontation and turning into a tense uniqueness of the constants of meaning of life, fate, finiteness of a person as a whole.The concept of happiness, extrapolating into the opposition of happiness /fate – disaster /sorrow (deprivation, misfortune), powerful for Ukrainian culture, is connotative with “will” (after all, “what kind of freedom is such a fate...”), on the one hand, and “underweight” – an evil fate, on the other hand. However, on the existential plane, the life-meaning ethical component of happiness loses its dramatic controversial vector: happiness with its internal semantic and moral modulations is a selfsufficient value. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

The (dis)information age represses questioning and distorts what we take to be genuine questioning. Most studies construe questions as “epistemic imperatives,” and critics reject it as exploitative. In its defense, this chapter isolates the significance of indeterminacy in questioning. It develops a hermeneutic of questioning to show its priority in receiving meanings, and exposes that shared questioning makes the questioners too indeterminate to claim one is exploiting the other. It also develops a phenomenology of questioning to identify what it is (...) people share when they share questions and reach an understanding through them. On the acting or noetic side, it is like the dehiscence of our bodies, where its openness consists in its both feeling and being felt. Questioning is dehiscent in that it opens understanding to enfold new meaning. On the content or noematic side, questioning expresses subject matters in the state of indeterminacy, where a topic is suspended in a network of predicative possibilities. Through questioning, we gain empowerment to determine things for ourselves, to take responsibility for our own answers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 113-115 [Access article in PDF] Wilhelm Dilthey. The Formation of the Historical World in the Human Sciences. Edited with an Introduction by Rudolf A. Makkreel and Frithjof Rodi. Princeton: Princeton University Press, 2002. Pp xiii + 399. Cloth $55.00. The first complete English translation of Wilhelm Dilthey's (1833-1911) most important mature work—a seminal work for hermeneutics, phenomenology, critical theory, and the (...) philosophy of history and the human sciences—is to be greatly welcomed. This excellent translation conveys the subtlety and richness of Dilthey's German. Its innovative translations of key terms will provide renewed stimulus to interpreting Dilthey's works.This edition includes Dilthey's investigation of the structures of consciousness in his three preliminary "Studies toward the Foundation of the Human Sciences," his exploration [End Page 113] of the import of the productive systems of historical life for knowledge in The Formation of the Historical World in the Human Sciences, and his final and perhaps best formulation of hermeneutics in "The Understanding of Other Persons and Their Manifestations of Life."Although Carnap and others utilized the word Aufbau in the sense of epistemic "construction," Makkreel and Rodi clarify how Dilthey used it in the sense of "formation." The formation of the historical world refers to its articulation in the human sciences which themselves theoretically reflect this historical world (GSW3: 1). They also argue that Dilthey's theory of the human sciences is not merely an epistemology (Erkenntnistheorie), but a theory of knowledge (Theorie des Wissens) that relates knowing to its context. Whereas epistemology seeks to establish the foundations of conceptual cognition (Erkenntnis), Dilthey places the epistemology of the human sciences within a larger context of the knowledge (Wissen) embodied in social practices and historical forms of life. Knowledge encompasses not only the conceptual cognition of reality, but also the values and purposes established about it.Dilthey accordingly situated the human sciences, which are determined by their respective object and how the object is given (SW3: 38), in relation to a pretheoretical life-nexus and its forms of elementary or ordinary understanding. These are tied up with the temporality, historicity, and structures of social life; with an epochal "objective spirit." Objective spirit indicates the ways in which the past has been objectified and continues to shape contemporary practices and it is analyzed in the human sciences as cultural systems and the external organization of society. A significant characteristic of the Formation is the development of the notion of "productive system or nexus." This new translation of Wirkungszusammenhang suggests a historical efficacy or productivity prior to any analysis of it as either causal or teleological (SW3: 4).The human sciences include the study of dynamic interconnected systems that articulate the intersection of meaning, value, purpose, and force. Dilthey interpreted these temporally, such that meaning primarily concerns how humans are determined by their past, value is based on their present feeling of life, and purpose is projective striving into the future in the face of productive forces (Kräfte) which cannot always be predicted or controlled.For Dilthey, understanding (verstehen) is intrinsically interpretive. Humans can cognize themselves and others only indirectly (SW3: 108), since we are conscious and reflective beings who are bound to the facticity of our bodies and world. Given that we know ourselves and others primarily through actions, life-expressions, and their effects—rather than through introspection or intuition—and that everyday understanding can face breakdowns and what seems distant or strange, elementary understanding leads to higher forms of understanding and interpretation; i.e., hermeneutics. Dilthey's project of a critique of historical reason proceeds from the context of life in all of its complexity and concreteness to the conceptual cognition of the sciences and, finally, to reflective awareness (Besinnung). This reflection is made possible by the prereflective reflexivity (Innesein or Innewerden) of the human subject and, with its double meaning of "sense" (Sinn) as meaning and bodily awareness, constitutes the basic movement of Dilthey's thought.Understanding provides more than scientific access to... (shrink)

With reference to Mead, Peirce, speech act theory, conversation analysis, and Luhmann's phenomenological grounded version of systems theory, the paper tries to reconstruct actions as products of communication. A triadic sequence is identified as the elementary unit for the intersubjective constitution of an act. This unit combines three achievements: (a) the constitution of meaning by sequential attribution, (b) the intersubjective coordination of attributed meanings, and (c) the reproduction of rules, guiding the process of constitution and coordination of attributed meanings. Then, (...) using the tools of systems theory and applying them to empirical results of ethnomethodology and conversation analysis, it is shown how the rule scheme is integrated in a triadic sequence, functioning on three different levels of communication. Finally, a specific form of repair after next turn is discussed, relating it to the function of preserving the structure of conversational types. The analysis of such conversational types opens a possible realm of cooperation between conversation analysis and Luhmann's version of systems theory. (shrink)

This paper investigates phenomenological philosophy as the critical consciousness of modernity beginning from that point in the Vienna Lecture where Husserl discounts Papuans and Gypsies, and includes America, in defining Europe as the spiritual home of reason. Its meaning is analyzed through the introduction of the concept of institution in Crisis to argue that the historical fact of encounter with America can be seen as an event for reason insofar as the encounter includes elements previously absent in the European (...) entelechy. The conclusion shows that phenomenology must become a comparative, Socratic, diagnosis of the planetary crisis of reason. The entelechy of reason that becomes evident through the concept of institution should be understood less as a renewal of a pre-existing tradition than as an exogenic encounter and incursion of an outside that together define an instituting event as new in relation to its tradition. (shrink)

Part 1. Husserl: the outlines of the transcendental-phenomenological system -- 1. Husserl's phenomenological discovery of the natural attitude -- 2. Husserl's theory of the phenomenological reduction: between lifeworld and Cartesianism -- 3. Some methodological problems arising in Husserl's late reflections on the phenomenological reduction -- 4. Facticity and historicity as constituents of the lifeworld in Husserl's late philosophy -- 5. Husserl's concept of the "transcendental person": another look at the Husserl-Heidegger relationship -- 6. Dialectics of the absolute: the systematics of (...) the phenomenological system in Husserl's last period -- Part 2. Husserl, Kant, and neo-Kantianism: from subjectivity to lifeworld as a world of culture -- 7. From being to givenness and back: some remarks on the meaning of transcendental idealism in Kant and Husserl -- 8. Reconstruction and reduction: Natorp and Husserl on method and the question of subjectivity -- 9. A hermeneutic phenomenology of subjective and objective spirit: Husserl, Natorp, and Cassirer -- 10. Cassirer's philosophy of symbolic forms: between reason and relativism: a critical appraisal -- Part 3. Toward a Husserlian hermeneutics -- 11. The subjectivity of effective history and the suppressed husserlian elements in Gadamer's hermeneutics -- 12. Husserl's "hermeneutical phenomenology" as a philosophy of culture. (shrink)

One of the scholars who have provided important contributions to the field of American studies in Romania is Professor Marius Jucan, PhD. The present paper is an attempt to decode, in only some pages, the type of discourse/writing that his books construct. The texts that make the subject of professor Jucan’s studies invite the reader and the writer to engage in a type of discovery that conditions understanding and induces revelations of diverse facets of ‘truth’– the interplay of text and (...) mind. Since such texts of the past, belonging to Henry James, H. D. Thoreau, Thomas Jefferson, frequently superimpose the aesthetic discourse on the philosophical, sociological, cultural and/or political one, it is understandable why they can be consistently studied only by an erudite specialist. (shrink)

The significance of critical phenomenology for psychiatric praxis has yet to be expounded. In this paper, I argue that the adoption of a critical phenomenological stance can remedy localised instances of hermeneutical injustice, which may arise in the encounter between clinicians and patients with psychosis. In this context, what is communicated is often deemed to lack meaning or to be difficult to understand. While a degree of un-shareability is inherent to subjective life, I argue that issues of unintelligibility can be (...) addressed by shifting from individualistic conceptions of understanding to an interactionist view. This takes into account the contextual, historical and relational background within which meaning is co-constituted. I conclude by providing a corrective for hermeneutical injustice, which entails a specific attentiveness towards the person’s subjectivity, a careful sensitivity to contingent meaning-generating structures, and a degree of hermeneutical flexibility as an attitude of openness towards alternative horizons of possibility. (shrink)

The object of the study is the industrial areas of Russian cities, the subject of the study is the communicative aspect of their functioning. The communicative approach to the city (and urban loci in particular) is based on semiotic, hermeneutic, phenomenological traditions. In this case, the city appears in its "middle" being as a multi-layered semantic phenomenon that is born as a result of reading and understanding it by a person. The communicativeness of the urban locus in the work is (...) proposed to be assessed through cognitive, value-semantic and behavioral components. Using the example of the industrial district of Samara – Bezymyanka, the complexity and ambiguity of communication processes unfolding between the industrial district and the citizens is shown. Bezymyanka is considered in the work as a typical phenomenon characteristic of a number of Russian cities. Similar districts appeared in the 1930s as a result of industrialization processes, in attempts to implement the urban planning concept of the socialist city. Being, in fact, "points" of growth, they were initially rejected by the urban community, being evaluated in the context of a "non-city". The post-industrial reality has made significant changes in their existence, raising the question of the state and content of modern communicative experience. Based on the results of a survey of city residents conducted by the author (the number of respondents is 250 people, the sample is targeted), the work showed the selective nature of the "reading" of this area, which steadily reproduces its negative imagery. The revealed differentiation of communication practices depending on the place of residence does not remove, but on the contrary, dictates the need for the district to develop a new symbolic language that allows it to actualize its potential positive meanings and images that can form the necessary identification mechanisms. (shrink)

The modern era is characterised by global changes based on the acceleration and continuous «incitement» of civilisational processes. The complex collisions of life were reflected in the public consciousness by the actualisation of the identity problem, which acquired special significance. Therefore, many reasons can be given, but we will emphasise only such. First, the existing anthropological situation is marked by all the signs of novelty and unusualness; social life reveals a steady tendency to weaken individual identifications with traditional (ethnos) and (...) modern (nation) communities. Secondly, in a situation where ethnic and national factors of identification are blurred, society becomes quite fragmented; under such conditions, a person exists at the intersection of local cultures, in an open cultural space, surrounded by a multitude of cultural forms, lifestyles, and traditions; all these forms become significant for a person at the same time and require ordering. Thirdly, the cultural self-determination of a modern person requires the interpretation of those models of cultural existence that represent other communities and the establishment of an individual relationship with them. Thus, identification processes in modern society, on the one hand, become problematic; on the other hand, they act as a driving force of cultural development. The purpose and task of the article are to study identity issues in the context of spectacular forms of mass communication. The research task is to analyse specific forms of mass visual production, ready-made visual images (images, brands, lifestyles) associated with the production of the phenomenon of «partial» identity. Research methodology. The application of the phenomenological method for revealing the content of human identity and the specificity of the phenomenon of human identification in modern society was important for this article. The theoretical basis of the article is also made up of approaches that emphasise the ontological openness of human existence, the universal significance of communicative interaction about human subjectivity, and the influence of spectacular forms on the construction of human identity. The results.In modern scientific discourse, the key term «identity» denotes a set of phenomena that cannot be reduced exclusively to psychological or socio-psychological forms; therefore, the following components are inherent in the phenomena of identity: a). – complex cognitive and figurative content; b). – a variable cultural component that changes due to many life factors, such as ethnic, speech, religious, political, professional, informational, gender, and virtual differences. We propose to consider «hyper-real reality» from the point of view of a special spectacular form of mass communication; the entire set of modern media resources is aimed at creating this form. In the conditions of the spread of spectacular forms of mass communication to all spheres of human life, popular images, lifestyles, and well-known brands become effective identification factors. At the same time, these factors are closely related. For example, acquiring a popular image and desired lifestyle by a person requires the consumption of positional goods and services. The production of such positional goods and services is aimed at meeting the needs of those groups of consumers who strive to be different from others in terms of level and quality of life.Many positional goods and services offered by global manufacturers and actively promoted on the market with the help of brands are created to meet urgent life needs and satisfy a certain human dream. Modern marketing strategies, represented in brands, contain certain signs of spectacular models of mass communication.Appealing to human feelings and inciting imagination, brands present the worlds of high fashion, entertainment and leisure as those that imitate the signs of the real world, creating the illusion of fulfilling desires. Therefore, the task of well-known brands as identification factors consists of the unification of personal meanings, goals, and desires, with the further transformation into one artificially narrowed meaning and one general need for material consumption. Conclusions.The article analyses specific forms of mass visual production, visual images, such as images, lifestyles, brands; in the conditions of the spread of spectacular forms of mass communication to all spheres of human life, these images become effective factors of «partial» identification; their task consists in the unification of personal meanings, goals and desires, followed by their transformation into one artificially narrowed meaning, into one general need for material consumption; it is believed that the conducted research on identity issues in the context of spectacular forms of mass communication will contribute to the development of scientific strategies and concepts of identity formation, will help to work out philosophical problems related to personal existence, creativity, and self-development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 33.1 (2003) 3-22 [Access article in PDF] Rationalism in History Steven Crowell Mark Bevir. The Logic of the History of Ideas. Cambridge: Cambridge UP, 1999. [L] When Hegel spoke of history as the "slaughter-bench at which the happiness of peoples, the wisdom of states, and the virtue of individuals have been sacrificed" [27], he wished his hearers to find satisfaction in the contemplation of a "reason" in history (...) that would redeem those sacrifices by explaining their necessity. A "logic" of history in this sense—a logic of the events themselves (res gestae) and not merely of discourses about them (historia rerum gestarum)—does not merely relate events to one another by means of a narrative in which they can be seen to make sense, but, going further, attributes necessity to these events by relating them to the (absolute) Idea. That this "Idea or Reason is the True," that "nothing but it... manifests itself in the world," is not, Hegel reminds us, something established historically but "has been proved in philosophy" [11]. Seen thus, post-Hegelian historicism begins the moment that the Idea of history becomes the "history of ideas"—that is, the moment when reason becomes merely the thematic object, rather than the generative subject, of history. In its many forms—Begriffsgeschichte, intellectual history, history of worldviews, Ideologiekritik, history of mentalités, and so on—the history of ideas bears the traces of its birth in the retreat of speculative philosophy of history's robust rationalism, whether of the idealistic Hegelian or the materialist Marxian variety. Under such conditions, to announce a "logic" of the history of ideas is to link historiography with philosophy in a way that might surprise those many who have grown accustomed to thinking that the latter is dead and the former is anything but logical.For "history" has been the shibboleth under which contemporary critical discourse has sought to free itself from the "philosophical" model of knowing that dominated earlier times. If at the outset of the twentieth century the new currents in European philosophy—Husserlian phenomenology and Russellian analysis—were militantly antihistorical, by century's end only the latter remained so. The former very quickly spawned or influenced a host of offshoots (existentialism, hermeneutics, deconstruction, genealogy) with little in common but the belief that philosophy is thoroughly historical. When, in the guise of "theory," critical discourse in fields such as literature, cultural studies, feminism, or postcolonial studies draws close to philosophy, then, it is generally a philosophy that sees itself entangled in history, no longer capable of "master narratives" or logics because suspicious of its own past. Significantly, this skepticism has made itself felt in the discipline of history itself, where the theory of historiography is increasingly integrated into a general postmodern, postphilosophical, model of cultural production that emphasizes politics or poetics over reason, rhetoric over cognition.1 Mark Bevir's proposal for a logic of the history of ideas is a protest against such [End Page 3] integration: historical inquiry—whose principles provide the basis not only for a "general logic of history" but also for a "theory of culture" as such [L 316]—is a rational enterprise that yields objective knowledge guided by the regulative idea of truth as correspondence to a fixed historical reality.There is scarcely a debate in historiography—and in the philosophy of mind, language, and science, as it pertains to such debates—about which Bevir does not have something important to say, but reduced to its bare outline Bevir's book lays out the elements, modes of justification, and modes of explanation that are normative for the practice of the history of ideas. At its basis is the philosophical view, introduced in chapter one and successively developed in subsequent chapters, that the "folk-psychological" concepts we use to understand and explain human behavior—above all, the concept of rationality—are indispensable in the history of ideas as well. A central element of the practice of intellectual history, for example, is the concept of "meaning," and in chapter two, against challenges from contextualists, conventionalists, and others who reject intentionalism, Bevir argues that... (shrink)

H. Arendt developed largely her hermeneutical interpretation of understanding in line with the rethinking of I. Kant’s philosophical heritage. Although she was able to offer a rather original interpretation of the theoretical views of the great German philosopher, her hermeneutic strategy was also influenced by the approaches to their understanding that were proposed by her teachers M. Heidegger and K. Jaspers. Arendt’s hermeneutical teaching proceeds from the need to realize the close unity of practical action and spiritual activity of the (...) human subject - Vita Activa and Vita Contemplativa. Accepting the initial position of Heidegger’s metaphysics of finiteness about the “abandonment” of man in the flow of time, Arendt simultaneously follows Jaspers’ call for the need for an existential-hermeneutic interpretation of practical action and the abilities of the spirit by their understanding on the basis of Kant’s legacy. Singling out thinking, will and judgement among the main vectors of self-realization of the spirit, she demonstrates their close relationship with the main types of practical human activity - work, work and action. Analyzing the abilities of the spirit, Arendt emphasizes the major role of thinking, which brings together the processes of knowledge acquisition and meaning creation. It highlights the primacy of the meaning-producing function of the reason in relation to the ability of the intellect to generate true knowledge on the basis of generalization of the data of contemplation. Describing thinking after Kant as a “thing in itself”, Arendt speaks of its involvement in eternity and time in the moment of the present, the ability to generalize the past and design the future. Thinking forms the core of practical reason, which Kant identified with the will, and opens a new horizon of meaning generation in its aspiration to the future. The ability to judge also turns out to be a product of thinking, referring to the past while relying on common sense and imagination. Arendt rightly argues that the “paralysis” of the faculty of judgement, indicating the significance of Kant’s categorical imperative, threatens not only to produce a distorted vision of history, but also the triumph of the “banality of evil” in the sphere of politics. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

A referência central do presente artigo é a fenomenologia material da vida de Michel Henry (1922-2002), fenomenologia essa mediante a qual se evidencia o quanto Karl Marx (1818-1893) merece ser reconhecido como o pensador de uma subjectividade radical em processo de realização mediante uma praxis imanente dos indivíduos, anterior a toda a abstracção política, económica ou institucional Assim, para o autor do artigo, a aplicação desta fenomenologia à economia mostra até que ponto esta última, com as suas equivalências de mercado (...) e capital, não constitui nem uma realidade nem uma teoria autónomas. Por outro lado, o artigo salienta também a enorme importância que para as nossas vidas reais e concretas pode e deve ter uma verdadeira meta-genealogia do processo real da produção e do consumo, especialmente no contexto de uma mundialização cada vez mais objectivista, baseada na aliança entre a ciência e a técnica. Com efeito, o perigo da alienação não é permanente apenas no contexto de uma tal evolução, pois, segundo Michel Henry, o cienti-fismo moderno, ao evacuar a vida subjectiva dos indivíduos, constitui também meio propício para o desenvolvimento de um fascismo latente baseado na negação "metafísica" da individualidade, assim como na "morte" associada às abstracções vazias de uma economia que facilmente se dispensa do "factor humano" ao nível de uma racionalização metodológica sem limite. The central matter of this paper is the material phenomenology of life of Michel Henry (1922-2002), a phenomenology through which it becomes evident how much Karl Marx (1818-1893) deserves to be recognised as the thinker of a radical subjectivity in the process of realization through an immanent praxis of the individuals, prior to all political, economic or institutional abstraction. Therefore, to the paper's author, the application of this phenomenology to economics shows the measure in which the later, with its equivalences of market and capital, neither constitutes an autonomous reality nor an autonomous theory. On the other hand, the paper also underlines the enormous importance which, to our real and concrete lives, a true meta-genealogy of the real process of production and consumption can and should have, especially in the context of a more and more objectivistic globalization, based on the alliance between science and technology. Indeed, the danger of alienation is not only permanent in the context of such an evolution, then, according to Michel Henry, modern scientism, as much as it tends to empty the subjective life of the individuals, is also a propitious means to the development of a latent fascism based on the negation of the "metaphysics" of individuality and, also, on the "death" associated to the empty abstractions of an economics which easily discards the "human factor" at the level of a methodological rationalization without limit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel’s Idea of a “Phenomenology of Spirit” by Michael N. ForsterGünter ZöllerMichael N. Forster. Hegel’s Idea of a “Phenomenology of Spirit.” Chicago: University of Chicago Press, 1998. Pp. xi + 661. Paper, $30.00.Hegel’s Phenomenology of Spirit (1807) has remained an enigmatic and controversial work. Typically it has been studied and appropriated selectively, by focusing on a few topics or sections of this immense opus. There are also several (...) commentaries on all or part of the work that immerse the reader in plenty of detail, but often with insufficient attention paid to the work’s overall design. Forster’s book is thematically focused but has sufficient scope to provide the reader with an overall orientation about the Phenomenology. Moreover, it is written in a clear, accessible language, with plenty of genuinely philosophical material to balance the more narrowly exegetical aspects of the study. Forster’s work stands in the tradition of a number of German and French studies that seek to unravel the “genesis and structure” (Hyppolite) of the Phenomenology as a key to understanding and assessing the import of Hegel’s singular work. Forster discusses those earlier readings, subjects them to a thorough critique, and develops original positions on a number of key issues in scholarship on the Phenomenology.The entire first half of the book (Parts One and Two) is concerned with the “official project of the Phenomenology,” which Forster reconstructs as three sets of philosophical tasks. First are the pedagogical tasks designed to introduce the reader to the superior viewpoint of Hegel’s system and its ability to overcome the ills specific to modern culture. In particular, Hegel is shown to further advance Herder’s and Schiller’s philosophical project of replacing the multiple, unreconciled dualisms of the modern intellectual and moral outlook with a unified, monistic account of natural and social reality. In a strong interpretive move, Forster attributes a naturalism of sorts to Hegel’s integrationist account of mind and body or self and world.Second are the epistemological tasks designed to justify the cognitive claims of Hegel’s [End Page 541] system (“science”) against those of all other philosophical and popular viewpoints. In particular, Forster shows Hegel’s indebtedness to the ancient (Pyrronic) skeptical strategy of equipollence, i.e., the method of setting into opposition equally strong arguments on both sides of any issue and thereby producing an equal balance of justification on all sides of the issue. Of all possible viewpoints only Hegel’s own, which is not subject to any external opposition, eludes the scope of the method of equipollence.The third, specifically metaphysical set of tasks of the Phenomenology centers around the work’s social and (on Forster’s reading) naturalist conceptions of God, meaning and truth, in which transcendent warrants are replaced by communal consensus. Forster concludes the first half of his study with a detailed consideration of the relation between the Phenomenology and Hegel’s system proper. He stresses that the work is only the “appearance” (Erscheinung) of the philosophical science itself and that it remains systematically independent of the latter.Part Three examines the role of history and historicism in the Phenomenology. Forster distinguishes between teleological or normative historicism and intellectual or descriptive historicism, and limits his investigation to the latter as the philosophically defensible of the two enterprises. He argues extensively for a one-to-one correlation between the various “shapes of consciousness” to be found in the core of the Phenomenology (from the chapter on Consciousness through the chapter on Reason) and specific periods in human history. This chronological history of consciousness is shown to be supplemented by two further accounts of the history of consciousness (in the chapter on Spirit and in the chapters on Religion and Absolute Knowledge, respectively), in which the first history’s focus on individual consciousness is enlarged to include supra-individual mind (“spirit”).In Part Four Forster explains the tripling of the history of consciousness with a shift in the plan of the Phenomenology, away from the more limited project of the original or “Ur-Phenomenology”—to lead individual consciousness to the viewpoint of (Hegelian) science—to the more ambitious goal... (shrink)

Modern rationalism transformed the modern homeland to a discursive space and time by means of institutes governing the modern society in all its walks. Based on the Newtonian and Kantian conception of space and time the discursive field is just a scene wherein any human individual adopts stewardship to create progress by reducing landscape and non-human life to auxiliary items for human’s benefit. In contrast, Aldo Leopold considered humans, non human life and the landscape as mutually influencing participants and enlarged (...) ethical care to all living participants and the landscape, called ´the land´. Integrity and autonomy of the homeland are the central topics of Leopold’s land ethics. Baird Callicott suggested to complete it with new metaphysical conceptions of space and time. -/- We formulated a metaphysical background for Leopold’s land ethics by phenomenology of space and time based on the Leibnizian conception of space-time. The latter is constructed by particular places and events called ´ecotopois´ embracing all human participants, locals and foreigners in a varying symbolic temporal and spatial field of dynamic process of identification and self consciousness. Adopting Warwick Fox´ transpersonal identification idea non-human life and landscape enriches these processes. Finally, it is not a matter of conquering the land, it is matter of making a community. -/- Though landscape and participants are particular, integrity and autonomy of the homeland claim the universal status of the land. Adopting Gadamer hermeneutical way of understanding, we reject mutual and equally understanding. Only acceptance of mutual prejudice makes room for asymmetric praxis between locals and foreigners as well as between humans and non-humans. What is more, Gadamer´s hermeneutics makes an ontological status of the foreigner possible and recognizes the interest of homeland’s particularity. This universal status is guaranteed as a priori space-time that links subject’s tradition and that of the land to actual contact with the foreigner. Transpersonal identification is a consequence of converging hermeneutical understanding of foreigner’s particularity and that of the landscape. Ethics of the land evolves from the ethical status of any foreigner in the own homeland. -/- . (shrink)

With the rise of the so-called military-entertainment complex, critical scholars note with alarm the integration of the political economies of entertainment companies and the military, in particular its potential influence on millions of young people who consume its concomitant films, toys and especially video games. Seen from a broad perspective, a potentially productive means of understanding the complexities of this sphere is through the lens of Michel Foucault’s notion of governmentality—a concept that ties together the actions and preferred outcomes of (...) the modern surveillance state with the microlevel actions of individual behavior. In this analytical framework, social norms are inculcated through subtle forms of coercion, where the state establishes the field of action in which state subjects ultimately perform self-discipline. This article argues that the first person shooter genre inculcates what I refer to as the governmentality of battlefield space: a form of discipline in which players adhere to gamic norms of performance—efficiency, proficiency, and masculine performativity—which are delineated by ludic structures and largely understood on terms which originate within the social ecology of gaming. The genre accomplishes this though disciplinary techniques such as informational verisimilitude, statistics, and masculinized “gamer” discourse, particularly during multiplayer instances, in which players constitute social understandings of what is “good” and “bad” play. It is on these terms that virtual combat performance and player performance become conflated in a kind of masculinized performance, which both adheres to and undermines traditional, hegemonic norms of (Western) military masculinity. This phenomenon transcends local social realities, and highlights the ways in which particular aspects of gaming and combat appear to have increasingly overlapping phenomenological and ontological qualities, working to produce a form of self-performance that may be required of tomorrow’s soldiers. (shrink)

The aim of our “discussion remark” is not to present a critical review on the book written by S. Geniusas, a brilliant study notable by its extreme painstakingness, historical sensitivity and terminological accuracy, but rather to delve deeply into the origins of phenomenological understanding of productive imagination, i.e., to turn “back to Kant”, given in Saulius Geniusas’ book (the first chapter) for introductory reason. We proceed from S. Geniusas remark that productive imagination establishes a relation between different abilities, reconciles the (...) antagonism between them and, in this respect, exercises a pro-creative function. We reveal that it is this pro-creative element of productive imagination that brings it closer to time (as indicated by Viktor Molchanov, a prominent Russian phenomenologist, in his study of 1988) and serves as the basis for gaining new knowledge. Imagination acts as a limit for reflection, however, it gets revealed only through reflecting, and, thus, it proves to be connected with a fundamental layer of consciousness, which appears both as an object and as a means of describing reflection, i.e., as time. The convergence, or rather, identification, of time with imagination lies in the very fact that both of them exercise an objective function: time – as a possibility for semantic definition of objectivity, imagination – as a basis for a possibility of any knowledge. Moreover, imagination turns out to be a source of a paradox and, ultimately, the only thing that explains self-cognition. (shrink)

Heidegger through Hegel's "Phenomenology of Mind" from the absolute beginning and returns the absolute prerequisite for the analysis, while abandoning Hegel skillfully expounded his own view of hermeneutics, in particular related to the limited and infinite nature of the relationship, the meaning of existence and there are other issues, for we understand the "Phenomenology of Mind", to understand Heidegger's own thinking and in philosophical method, as well as between the two thinkers and critical internal succession relations are very instructive.

This article presents Paul Ricœur’s hermeneutic of the productive imagination as a methodological tool for understanding the innovative social function of texts that in exceeding their semantic meaning, iconically augment reality. Through the reasoning of Rastafari elder Mortimo Planno’s unpublished text, Rastafarian: The Earth’s Most Strangest Man, and the religious and biblical signification from the music of his most famous postulate, Bob Marley, this article applies Paul Ricœur’s schema of the religious productive imagination to conceptualize the metaphoric transfer from text (...) to life of verbal and iconic images of Rastafari’s hermeneutic of word, sound and power. This transformation is accomplished through what Ricœur terms the phenomenology of the iconic augmentation of reality. Understanding this semantic innovation is critical to understanding the capacity of the religious imagination to transform reality as a proclamation of hope in the midst of despair. (shrink)

In my paper, I set The Language Animal against a broader picture of Taylor’s intellectual trajectory. Sources of the Self (1989) left three major questions open in its wake: (a) the viability of religious moral sources in a ‘secular’ age; (b) the compatibility between a robust moral realism and a genealogical account of modern identity; (c) the meaning and destiny of the so-called ‘linguistic turn’. This is the framing topic of his last book. Although Taylor’s variety of hermeneutics is unquestionably (...) a product of the linguistic turn, he has operated with a broad notion of the linguistic capacity from the start. Language is, for him, a shared activity and the acknowledgment of its animal embeddedness functions in his work as an antidote against any too idealized a view of the kind of creatures that humans are. In his earlier writings, however, a structural tension lurked below the surface between a Gadamerian notion of Sprache and a more phenomenological, Merleau-Pontyan, embodied outlook that was less modeled on articulate speech. My claim is that his new book marks a shift from a more speech-oriented to a more body-oriented understanding of language. (shrink)

Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on (...) the one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection. (shrink)

The present study concerns the issue of meaning in contemporary continental philosophy. In particular, it develops the two accounts of meaning offered by Heidegger and Levinas, each of whom presents us with a differing break from Husserl. As a first attempt to name the difference between these three thinkers, one could say that Husserl gives us an epistemological notion of meaning; whereas Heidegger gives us an ontological account, and Levinas gives us an ethical account. We will refine and reformulate this (...) division in relation to the issues of each chapter. ;We will thus see how both Heidegger and Levinas develop their separate notions in relation to Husserl's own revolutionary approach to the question of meaning. Whereas Husserl both replaced the term "experience" with the term "intuition" and gave a compelling account of the "prepredicative" roots of the meaningful, Heidegger advances the articulation of such a prepredicative realm of meaning even further than Husserl. He did so, however, in a way that ends up displacing Husserl's notion of intuition. This is the move from Husserl's account of phenomenological intuition to Heidegger's own notion of a more hermeneutic phenomenology . ;I will show how Heidegger articulates an account of meaning as that upon which any projection of understanding takes shape. Meaning becomes a quasi-transcendental, non-subjective notion of that which makes possible the disclosure of any "world." Levinas, on the other hand, offers an account of meaning---in intended opposition to Heidegger---as located primarily in the ethical exposure at the heart of language: in the "face-to-face" relation of Same and Other. He further develops his notion of meaning in terms of the notion of the saying and the said. Both Heidegger and Levinas give us a non-intentional account of the meaningful. For Heidegger it takes the form of a non-intentional background that makes possible both the "worldhood of the world" and the possibilities of Dasein . For Levinas, the meaningful is thought in terms of an interpersonal, quasi-ethical face to face relation between persons exposed to the vulnerability, obligation, and height of an "Other" in what he calls the "saying.". (shrink)

This study is considered as a proposal to identify some metaphysical support of the self-care for a patient suffering from a chronic disease, as an extension of the bio-psycho-social paradigm. The methodology is dominated by a phenomenological perspective, supported by a hermeneutic conceptual analysis of the care of the self in Michel Foucault, focused on the Socratico-Platonic period and pervaded by the intention of having a translation and application to self-care. Foucault pleads for an aesthetics of the self, called subjectivity, (...) in which the subject is self-constituted through the so-called technologies of the self. The care of the self comes from the resignification of the philosophy as a way of life in which the subject is objectified. The translation and the applicability of the care of the self at the idea level to self-care are identified precisely in the acquisition of some important principles of the philosophy of care of the self from the Greek Antiquity: the role of awakener of consciousness of the one who is concerned about oneself as the first moment of the metaphor of awakening from the sleep, the ēthos as a way of being, a way of behaving and a life model. The pair self-knowledge – care of oneself justifies informing the former by the latter, in which being concerned about oneself means knowing oneself. Nevertheless, knowledge means care of the self where the self is synonymous with the soul and moreover, with the divine element in man. (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 paper strives to clarify the essential structures of productive imagination using the resources of Husserlian phenomenology. According to my working hypothesis, productive imagination is a relative term, whose meaning derives from its opposition to reproductive imagination. One thus first needs to clarify what makes imagination into a reproductive mode of consciousness, and in this regard, Husserl’s phenomenology proves exceptionally fruitful. My analysis unfolds in four steps. First, I fix the sense in which phantasy is an essentially reproductive mode of (...) consciousness. Secondly, I argue that phantasy cannot be conceived as an ingredient of perceptual consciousness. Thirdly, I show that both memory and phantasy generate patterns of sense, which can subsequently be transcribed into the field of positional experience. Finally, I conclude with a suggestion that the plurality of cultural worlds can be conceived as diverse configurations of sense, which are the constitutive accomplishments of productive imagination. (shrink)

Environmental anxiety is often thought of as a psychopathological condition. Our paper aims to challenge this narrow understanding by offering an existential-phenomenological interpretation of environmental anxiety that posits it as an _existential attunement_ with a transformative potential, capable of opening the anxious individual to a hopeful and meaningful outlook on the future. In the first part of the paper, we provide a conceptual analysis of environmental anxiety, drawing on current interdisciplinary taxonomies of environmental emotions as well as on existential-phenomenological definitions (...) of anxiety. We then proceed to define the two key existential characteristics of environmental anxiety, firstly (i) its ability to reframe the aesthetic perception of nature, and secondly (ii) its impact on the subjective constitution of meaning. In the second part of the paper, drawing on the work of Kierkegaard and contemporary ecopsychological and ecotheological thinkers, a distinction is made between a naïve and a radical form of environmental hope. It is argued that while the former type of hope leads to inactivity, the latter is capable of motivating individuals to pro-environmental action. (shrink)