In this essay I take issue with Derrida's interpretation of Husserl's phenomenology of internal time-consciousness in Speech and Phenomena. Derrida's critique of Husserl's phenomenology of time also forms the basis for what Derrida regards to be an undermining of phenomenological philosophy itself. After first disagreeing with Derrida's interpretation of Husserl's understanding of time I proceed to object to his „undermining" of phenomenology. I attempt to illustrate that his critique of phenomenology is unconvincing.

In this essay I take issue with Derrida's interpretation of Husserl's phenomenology of internal time-consciousness in Speech and Phenomena. Derrida's critique of Husserl's phenomenology of time also forms the basis for what Derrida regards to be an undermining of phenomenological philosophy itself. After first disagreeing with Derrida's interpretation of Husserl's understanding of time I proceed to object to his “undermining” of phenomenology. I attempt to illustrate that his critique of phenomenology is unconvincing.

The Poet as Phenomenologist: Rilke and the New Poems opens up new perspectives on the relation between Rilke's poetry and phenomenological philosophy, illustrating the ways in which poetry can offer an exceptional response to the philosophical problem of dualism. Drawing on the work of Husserl, Heidegger and Merleau-Ponty, Luke Fischer makes a new contribution to the tradition of phenomenological poetics and expands the debate among Germanists concerning the phenomenological status of Rilke's poetry, which has been severely limited to comparisons of (...) Rilke and Husserl. Fischer explicates an implicit phenomenology of perception in Rilke's writings from his middle period (1902-1910). He argues that Rilke cultivated an artistic perception that, in a philosophically significant manner, overcomes the opposition between the sensuous and the intelligible while simultaneously transcending the boundaries of philosophy. Fischer offers novel interpretations of central poems from Rilke's Neue Gedichte (1907) and Der neuen Gedichte anderer Teil (1908) and frames them as the ultimate articulation of Rilke's non-dualistic vision. He thus demonstrates the continuity between Rilke and phenomenology while arguing that poetry, in this case, provides the most adequate response to a philosophical problem. (shrink)

Although the seasons have been a perennial theme in literature and art, their significance for philosophy and environmental theory has remained largely unexplored. This pioneering book demonstrates the ways in which inquiry into the seasons reveals new and illuminating perspectives for philosophy, environmental thought, anthropology, cultural studies, aesthetics, poetics, and literary criticism. The Seasons opens up new avenues for research in these fields and provides a valuable resource for teachers and students of the environmental humanities. The innovative essays herein address (...) a wide range of seasonal cultures and geographies, from the traditional Western model of the four seasons––spring, summer, fall, and winter––to the Indigenous seasons of Australia and the Arctic. Exemplifying the crucial importance of interdisciplinary research, The Seasons makes a compelling case for the relevance of the seasons to our daily lives, scientific understanding, diverse cultural practices, and politics. (shrink)