Continental Aesthetics

Derrière un seul et même mot – l’« esthétisation » – se cachent des constats que tout ou presque sépare. Peu étonnant que les différents débats autour de cette notion, en France, en Allemagne ou aux États-Unis, aient souvent engendré des incompréhensions mutuelles. Avant même de savoir si l’esthétisation du monde est un phénomène désirable ou condamnable, il faut éclairer les arrière-plans conceptuels qui orientent ce diagnostic, et qui lui confèrent un sens parfois diamétralement opposé. En ouverture du dossier, l’article (...) entreprend de faire la généalogie de ces débats, avec trois moments-clés – le moment 1800, l’entre-deux-guerres (1919-1939), et enfin les années post -68 (1970-1990). Il propose ensuite une typologie pour s’orienter dans ces débats et comparer les quatre versions de ce qu’« esthétisation » peut vouloir dire. (shrink)

This article was initially written (in 2020) for a private collection gifted to Alexander García Düttmann on the occasion of his 60th birthday. It explores themes of education and the transmission of knowledge in relation to figures of youth and extinction. Georg Trakl's poem "Abendlied" serves as the essay's centerpiece and is brought into dialogue with comments made by Levi-Strauss on a 'prima material'. Certain ecological overtones appear when an overzealous Prometheanism is contrasted with a labor of re-creation.

In the course of remarking on the “parodic” nature of Nietzsche’s “doctrine” of Eternal Return, Klossowski writes of “laughter, this infallible assassin.” (Amir 2021, 272) The laughter of homo risibilis does not err in its elimination of human despair, nor does it errantly dispose of any other portion of human existence. A question that I will develop over the course of these remarks is the question of this assassination by laughter: what, precisely, is assassinated? and, what might be lost in (...) such an assassination? In pursuing this question, I want to explore the temporal overlap between the academic acceptance of Nietzsche in France in the early 1960s and the discussion of Spinoza in France at the same time—a discussion that was closely linked to the Holocaust—in order to raise the question of the relation of humor and history. -/- My question to Prof. Amir is: do laughter and humor have a role to play even in the face of world-shattering wrongs? In her account of homo risibilis and in her account of Nietzsche’s philosophy of laughter and its French inheritors, the focus seems squarely on the present and the future. Deleuze’s laughter is that of the human being who has embraced fate but also of the individual who, with their laughter, would overturn norms and conventions. Prof. Amir writes that “Deleuze … focuses on the iconoclastic force of humor, its capacity to break any boundary or law.” (Amir 2021, 282) But is such a focus recalcitrant to ethical efforts to reckon with past evils and injustices? In the overcoming of the tragic by the comic, is there room for remembrance? Is there room for honor to be paid to history? Or, are laughter and humor a-historical forces—is laughter, after all, in Klossowski’s words, an infallible assassin? Is no historical event secure from its transformative and iconoclastic work? -/- . (shrink)

Il tema del merito ha avuto molte vite, in tradizioni e culture diverse, trovando di recente rinnovata centralità su entrambi i lati dell’Atlantico. Il volume si prefigge l’obiettivo di analizzarne le ragioni, indagarne le condizioni di possibilità, valutarne limiti e problemi.

O presente artigo tratará, no pensamento de Nietzsche, do cotejo entre a concepção de expressão musical e a noção de esquecimento de si. O filósofo, assim, a elabora a partir de uma interpretação peculiar da tragédia grega, da qual absorve as alegorias de Apolo e Dionísio, e finda por relacionar a música com sua concepção mais ampla de arte. Além disso, o artigo tece relações entre a mencionada formulação de Nietzsche, as concepções de Gênio Criador em Schopenhauer e de Obra (...) de Arte Total em Wagner. (shrink)

What is Philosophy?, the third volume of the series of books that Gilles Deleuze and Félix Guattari wrote on “Capitalism and Schizophrenia”, presents us with a rather unusual idea, but one that is essential to understanding contemporary philosophical thought: the notion that philosophy is a concept-creating machine that must be connected to other machines, such as the arts and the sciences. Philosophy, science, and art are three distinct forms of reliable thinking. Given the heterogeneity of thinking, in what sense can (...) the three distinct forms of thinking answer the problem of creating concepts and using the machine as an allegory? This essay aims to analyse philosophy’s role in its relation to artistic and scientific practices by examining Dziga Vertov’s Man with a Moving Camera. It will focus on three guiding principles: creation is not exclusive to art and the sensible; philosophy mediates the relation between art and the sciences; and this mediation aims to keep their discord alive, not to solve it. (shrink)

The Western philosophical tradition has shown a marked and perennial fondness for tragedy. From Plato and Aristotle, through the development of Christianity, to German idealism, and even to contemporary reflections on the murderous violence of the twentieth century, philosophy has repeatedly looked to tragedy for resources to make suffering, grief, and death thinkable. But what if by showing such a preference for tragedy, philosophical thought has unwittingly and unknowingly aligned itself with a form of thinking that accepts human suffering and (...) pain without protest? This collection explores possibilities for philosophical thinking that refuse the tragic model of thought and turn instead to its often-overlooked companion: comedy. Composed of a series of experiments ranging across the philosophical tradition, the essays in this volume propose to break, or at least suspend, the use of tragedy as an index of truth and philosophical worth. Instead, they explore new conceptions of solidarity, sympathy, critique, and justice. In addition, the essays collected here provide ample reason to believe that philosophical thinking, aligned with comedy, is capable of important and original insights, discoveries, and creations. The prejudicial acceptance of tragic seriousness only impoverishes the life of thought; it can be rejuvenated and renewed by laughter and the comic. This book was originally published as a special issue of Angelaki: Journal of the Theoretical Humanities. (shrink)

At the twilight of the nineteenth century, the French symbolist writer Marcel Schwob assimilated Paolo Uccello (1397-1475) into modern sensibilities: “For Uccello did not care about the reality of things, but about their multiplicity and about the infinitude of lines.” Schwob’s consideration of Uccello (much like Antonin Artaud’s, who wrote the surrealist “Uccello le poil”) has been traditionally neglected by art historians. And yet, these literary encounters with the painter retain a sense of hermeneutical validity that, I argue, transcends the (...) “merely” poetic. In this essay, I examine an unusual work of art, The Funerary Monument to John Hawkwood, which has been seen as exemplifying Uccello’s artistic deficiencies in its lack of unified space and illusionistic volume. In contrast, by being attentive to Schwob and Artaud’s analyses, I propose that the fresco presents a never-fulfilled visual experience in which resonating negations (of centrality, spatiality, and existence) articulate the spatial relationship between the artwork and its viewers. A reticent monument, the paradoxical space in Uccello’s Hawkwood presents a series of dislocations, traces, and erasures, which disclose the artifice of the painting and bring Hawkwood forth, not as a living being, but as a disembodied memory. (shrink)

Michail M. Bachtin, der durch die Entwicklung der literaturwissenschaftlichen Paradigmen der Dialogizität und Polyphonie Berühmtheit erlangte, wurde noch nicht ausreichend als Vertreter der ihrerseits vernachlässigten russischen Philosophie wahrgenommen. -/- Bereits in den philosophischen Fragmenten des Frühwerks bilden Dialog und Vielfalt den roten Faden. Unter der Prämisse seines dynamisch-organischen Menschenbildes ist der Mensch dort am vollkommensten, wo ihm ein anderer antwortet. Bachtins Frühwerk ist ein mutiges, aber nicht leicht zugängliches Plädoyer für eine menschliche Einheit in der Vielfalt und Vielfalt in der (...) Einheit, das historisch und systematisch interpretiert und erschlossen wird. Die Phänomene Liebe und Tod veranschaulichen dieses Modell gegenseitiger Anerkennung, das vielfältige interdisziplinäre Anknüpfungspunkte bietet. (shrink)

Can we gain knowledge by reading literature? This essay defends an account of reading, developed by Stanley Cavell and Hans-Georg Gadamer, that phenomenologically describes the experience of acquiring self-knowledge by reading literary texts. Two possible criticisms of this account will be considered: first, that reading can provide other kinds of knowledge than self-knowledge; and, second, that the theory involves illegitimately imposing subjective meaning onto a text. It will be argued, in response, that the self-knowledge gained in reading allows one to (...) gain other sorts of knowledge too, and that the reading process described by Gadamer and Cavell avoids excessive subjectivism. (shrink)

Gilles Deleuze and Félix Guattari frequently discuss Western classical music, referencing such diverse traditions as medieval polyphony and 20th century modernism. In their work, however, they have an intense focus, common among philosophers, on composition, with very little consideration given to performance. Nevertheless, I find that their work resonates with questions of performance in important ways. In this paper, I bring Deleuze and Guattari’s work to bear on the practices and processes of musical interpretation and performance, transposing into this musical (...) domain the concepts of the smooth and the striated that they explicate in A Thousand Plateaus. The basic claim is that there exist smooth and striated methods of interpreting and performing music and that these concepts allow us to articulate afresh important differences in performance practice. Ultimately, I claim that the smooth is perhaps the privileged term, but that a good performance necessarily includes both smooth and striated elements. (shrink)

Dramatization and comedy are recurring themes in Deleuze's work in the 1960′s and, from his book on Nietzsche in 1962 through The Logic of Sense in 1969, remarks on humor and comedy are closely bound to ethical and political concerns. In Nietzsche and Philosophy, he speaks of the “true” and “false” senses of the tragic in order to frame his interpretation of Nietzsche as a whole, but the distinction acquires its immediate importance from its bearing on the question, “what is (...) justice?” In 1967, in Coldness and Cruelty, he describes legal critique as possible only in terms of irony and comedy. And, in 1969, in The Logic of Sense, the series on humor is followed and explicated by the series “On the Moral Problem in Stoic Philosophy.” This final discussion makes clear what binds these disparate discussions together: comedy is a mode of dramatization that facilitates a morally relevant experience that does not necessarily or immediately engender an act of judgment. For Deleuze, comedy is a demonstration that provokes an experience of wonder at a world that is not organized by the concepts and judgments of subjectivity. (shrink)

The Western philosophical tradition shows a marked fondness for tragedy. From Plato and Aristotle, through German idealism, to contemporary reflections on the murderous violence of the twentieth century, philosophy has often looked to tragedy for resources to make suffering, grief, and death thinkable. But what if, in showing this preference, philosophical thought has unwittingly and unknowingly aligned itself with a form of thinking that accepts injustice without protest? What if tragedy, and the philosophical thinking that mobilizes it, gives a tacit (...) assent to injustice?This collection explores possibilities for philosophical thinking that are revealed by deliberately refusing the tragic model of thought, by turning instead to its often-overlooked companion: comedy. Comprising a series of experiments ranging across the philosophical tradition, the essays in this volume propose to break, or at least suspend, the use of tragedy as an index of truth and philosophical worth. In so doing, they explore new conceptions of solidarity, sympathy, critique, and justice.In conjunction with the extended network of projects and ideas with which they engage, the essays collected here provide ample reason to believe that philosophical thinking, aligned with comedy, is capable of important and original insights, discoveries, and creations. The prejudicial acceptance of tragic seriousness only impoverishes the life of thought; it can be rejuvenated and renewed by laughter and the comic. (shrink)

This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits, shot clandestinely from under his coat; Luc Delahaye's L’Autre, “stolen” from the Paris Metro in the 1990s; and Philip-Lorca diCorcia's Heads, (...) gigantic strobe-lit portraits on the streets of New York. The paper then turns to Australian photographer Cherine Fahd, whose work insistently alludes to the redemptive potential of this promise. This potential is interpreted in terms of Emmanuel Levinas's ethical responsibility to the other, Ariella Azoulay's “civil contract of photography” and Giorgio Agamben's eschatological understanding of photographic testimony. (shrink)

Some critics charge that Gadamer’s approach to our experience of art remains mired in conservatism because he believes our experience of artworks depends on tradition. In this essay, I argue that this charge fails to address the full scope of Gadamer’s considerations of our experience of art. This becomes clear with an emendation that Gadamer appears to make to his Truth and Method account of artistic imitation, or, mimesis, in his later essay “Art and Imitation.” Whereas Gadamer’s approach to mimesis (...) in Truth and Method provides testimony to the significance of tradition for our experience of artworks, his account in “Art and Imitation” make the supplementary proposal that our experience of artworks testify to a more fundamental and encompassing experience of what he shall simply refer to as ‘order.’ Gadamer thereby suggests that our experience of artworks concerns not only foremost or exclusively our belonging to a tradition but, more originally, our possibilities for belonging as such. (shrink)

Apresentamos a leitura deleuziana do papel e do poder da imaginação e do esquematismo no juízo estético segundo Immanuel Kant destacando, em particular, a importância de se pensar um desacordo entre faculdades e de, no limite, afirmarmos a impossibilidade de uma filosofia da arte. Como se dá o processo que liga sensações e conceitos, arte e filosofia? Ao respondermos a esta questão, também esclarecemos a situação peculiar de Kant na filosofia de Gilles Deleuze e a leitura que este faz em (...) A Filosofia Crítica de Kant, publicado em 1963. Teremos como objeto de análise um filme sensorial, To the Wonder/A Essência do Amor, realizado por Terrence Malick. (shrink)

A comparative study of Charles S. Peirce’s and Ernst Cassirer’s triadic phenomenological theories of categories. Both Peirce and Cassirer developed, in a mature stage of their philosophical reflection, phenomenological theories on three fundamental categories: Firstness, Secondness, and Thirdness are the names of Peirce’s categories,while Cassirer’s ‚basis phenomena‘ are denominated with the personal pronouns Ich, Du and Es. Prompted by John Michael Krois’s suggestion of an indirect similarity between the two phenomenological theories of categories, this essay aims to find a possible (...) justification for this convergence, thereby reconstructing its metaphysical and epistemological grounding. The study is divided into four sections. In the first part, Peirce’s and Cassirer’s theories of knowledge are compared as expressions of a similar symbolic conception of thought. Secondly, I offer a parallel account of the reasons which led the two philosophers toward a more metaphysical grounding of their symbolic theories, focusing in particular on the relevance of the problem of life in both views. In the third section, I concentrate on the content of the two phenomenological theories and argue that they both represent an attempt to conciliate the tension between the transcendental premises of their symbolic theories of knowledge and the living character of experience. Finally, the reflections of Goethe and Schiller are presented as a possible source of Peirce’s and Cassirer’s triadic phenomenological theories. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.

Peter Sloterdijk’s Der Ästhetische Imperativ – Schriften zur Kunst is a collection of essays addressing a range of topics in the aesthetic realm, including sound, light, product design, cities and architecture, the human condition, museums, action cinema and the art system. Via a ‘media’-anthropological, historico-philosophical approach, he critiques the ‘aesthetic imperative’ of modern design civilizations by re-evaluating the analogy between universal ethics and aesthetics after Kant. In this way, Sloterdijk argues for a more singular, intensive, socially and environmentally responsible aesthetic (...) experience. (shrink)

The purpose of this paper is to examine the ateleological moment of learning through imitation. In general, we can learn something new through imitating models we are given, which embody the values of our own society, culture and institutions. This means that imitation is understood in terms of the representation or reproduction of original models. In this understanding of imitation, however, the creative aspect of imitation is missed. In relation to this I shall, first, consider learning through imitation in terms (...) of Walter Benjamin’s theory of mimesis discussed in his essay, ‘On the Mimetic Faculty.’ It begins by examining general understanding of the concepts of experience and writing. Second and third, while reconsidering the idea of imitation, I shall bring out the difference between mimesis and copying, based on Plato and Aristotle, and I shall examine the former, especially its involuntary aspect. Fourth, in order to consider the ateleological moment of learning through imitation as mimesis, I discuss the relation between mimesis and the chance event. Fifth, Benjamin’s allegorical ‘anti-autobiography’ entitled ‘A Berlin Childhood around 1900’, which ponders the idea of childhood as otherness is considered in order to explore what is happening in the very moment of writing, driven by the chance event. To conclude, I shall show how the very moment of writing involves an unceasing transformation of the self. (shrink)

Ana-materialism & the Pineal Eye provides a landmark interpretation of materialism, representation and the image using the Cartesian conceit of a pineal gland and its voracious sexually embedded appetites. Developing the argument via Bataille’s re-invention of the pineal gland as an all-seeing, all- devouring, (pineal) eye, Golding borrows this move to envision a different analytic approach to digital forms of ‘matter’ and artificial forms of ‘life’. From her critical engagement with Bataille, Deleuze and Butler, Golding shows why the tools provided (...) by these modern, contemporary and postmodern approaches to philosophy, image, the body, indeed representation cannot fully explore, let alone develop these new forms of reality/ies except by retreating into traditional binary divides between male and female, good and evil, mother/child and so forth. Ana-materialism and the Pineal Eye introduces a much needed understanding to oddly cathected sensualities, multiversal realities, digital imaginaries with no weight, no volume, no spatiality, but ‘somehow’ making sense, and with it, creating matter, ethics, art. (shrink)

I argue that in Julia Kristeva’s concept of negativity, conceived of as the recuperation, through transformation, of a traumatic remnant of the past, we can find a parallel to what Theodor Adorno, following Walter Benjamin, calls a mimesis that in its emphasis on non-identity is able to remain faithful to the ban on graven images interpreted materialistically rather than theologically. A connection between negativity and the theological ban on images is suggested in Adorno’s claim that a ban on positive representations (...) of utopia leads to a practice of negating the negative, that is, of exposing the injustices of modern life. Both Adorno and Kristeva discern in contemporary art a capacity to critique modernity and envision a better world, but insist that this art must not represent what it indicates. I also examine Benjamin’s writings on photography in order to argue that a mimesis that respects the ban on graven images moves us beyond the systematic optimism of the Hegelian dialectic, and extends the philosophy of history into the unknown of the unconscious. (shrink)

In this contribution I want to sketch a phenomenology of music, expounding and expanding the philosophy of Michel Henry. In the work of Henry, several approaches to a phenomenology of music are made. The central question of the contribution is: “What do we hear when we hear music?” It is argued that there is an unbridgeable divide between the intentional sphere of the world and its sounds and what in Henry’s philosophy is understood as Life. Music is the language of (...) Life itself and cannot be merely considered a composition of sound. Music does not imitate nor even represent the world, but is the inner movement of life itself. In this respect, Henry is close to Schopenhauer’s view on music, in which the Will is sharply contrasted to representation. However Schopenhauer’s thought needs a phenomenological elaboration in order to understand music as an immediate experience. In the article, music is compared to painting, since this is a recurring methodological theme in Henry’s thoughts on music. (shrink)

"Torture and Photography: Abu Ghraib" attempts to think the mutual relationships between torture and photography, addressingissues of objectivity, publicity, and distance. In a world where bodies have been divested of human rights, the objectification of the camera seems the perfect complement. Exploring the "prophylactic" character of film, the author proposes human "touch" as always in excess of this objectified state of affairs. Along with memoranda from the Bush administration on the issues of detainee rights and the role of torture in (...) interrogation, the essay engages with the theoretical work of Susan Sontag, Elaine Scarry, Michel Foucault, Georges Bataille, Erwin Straus, and Giorgio Agamben in staking out the intersection of torture and photography. (shrink)

This essay is about experience, and not only about ideas. I have been drawn to write about John Cameron Mitchell’s Shortbus for a number of reasons: First, I find his work to be part of a new turn in LGBT art and media that take queer lives as a point of departure, and not only as narrative focus, for their work. These areworks that are not just about being queer, but cross the line into being queer works. Of those who (...) can be said to be a part of this recent turn, I find Mitchell’s work to be both especially philosophical and formally interesting. Not only does his work take up philosophical questions over what it means to be human, and the nature of love and sex, but also his works are produced through an organic, cooperative process that re-frames what it could mean to queer representation, political or otherwise. (shrink)

In The Man Without Content, Giorgio Agamben makes a few but poignant references to Plato’s understanding of art. Because art’s impact was powerful, Plato deemed art dangerous and subordinated it to politics. In contrast, Agamben argues, modern art enjoys the privilege of formal autonomy at the cost of losing political significance. This essay develops the Platonic dimension in Agamben’s thought: whereas Platonic censorship recognizes art’s power by way of prohibition, the modern culturalist tolerance of art is symptomatic of art’s reduction (...) into commodity and of the public indifference toward it. (shrink)

Ralph Ellis discusses inspiration in important philosophical and psychological ways, and this response to his essay both appreciates and amplifies his discussion and its conclusions by framing them in terms of sublimation and speech, using insights from the work of Jacques Lacan, Jacques Derrida, and Gilles Deleuze. Inspiration is not derived from another plane of existence, but refers to tbe creation of human meaning and value. Inspiration as a form of sublimation conceives sublimation as a process of substitution that avoids (...) elevating a phenomenon from a lower material to a higher spiritual level, and speech can be seen as a complex form of inspiration that forms along what Deleuze calls a plateau. Speech as inspiration is both physiological breath and productive of cognitive and emotional significance. I conclude with abrief consideration of inspiration as speech in Cormac McCarthey’s novel The Road. (shrink)

_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...) from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

“Perspective is much more than a secret technique for imitating a reality… It is the invention of a world dominated and possessed through and through.” These inimical words by Maurice Merleau-Ponty encapsulate a customary philosophical position, as explicit and implicit references to early modern culture by critical theorists and continental philosophers lead to an uninviting and even sinister picture. Because of its emphasis on the human eye, quantitative spatial relations, and the virtual incising of pictorial space via linear perspective, the (...) Renaissance was cast as a formidable villain in order to uphold modern artistic production. It is an accusatory characterization.. (shrink)

Long recognized as an important and abiding influence in the European artistic and intellectual circles of the last century, the work of Pierre Klossowski is slowly gaining recognition in the Anglo-American scholarly community. The older brother of the painter Balthus, a friend of Rilke and Gide among others, and a celebrated artist in his own right, Klossowski is a difficult if not impossible thinker to categorize. From quite early in his career, Nietzsche was an important influence on Klossowski’s work. In (...) addition to translating two volumes for Nietzsche’s Oeuvres Complètes (1967, 1976), as well as Heidegger’s four-volume work on Nietzsche (1976), Klossowski also wrote a number of essays on Nietzsche as well as a book, Nietzsche et le Cercle Vicieux (1969). In a note to Différence et Répétition, Gilles Deleuze, citing “Nietzsche, Polytheism, and Parody” as well as “Forgetting and Anamnesis in the Lived Experience of the Eternal Return of the Same,” writes that Klossowski’s work has “renewed the interpretation of Nietzsche.” “Nietzsche, Polytheism, and Parody” appeared as the final essay of Klossowski’s book, Un si funeste désir (Such a Deathly Desire), first published in 1963. It is one of two essays in the book that are devoted explicitly to Nietzsche; the second, “On Some Fundamental Themes of Nietzsche’s Gaya Scienza,” is the opening essay of the volume and had previously appeared as an introduction to Klossowski’s translation of The Gay Science. “Nietzsche, Polytheism, and Parody” had not previously appeared in print, although Klossowski had presented it as a lecture at the Collège de Philosophie in Paris in 1957. Together, the two essays bound a series of reflections on Gide, Blanchot, Bataille, and others, all of which appeared previously – sometimes in a different form – and that taken together explicate Klossowski’s conception of “the demon.” The conception of the demon, drawn from The Gay Science, is for Klossowski a figuration of the double life of the existing human being: both conscious, rational, goal-directed, and vital, passionate, a victim of intensities. (shrink)

It has become a commonplace that "images" were central to the twentieth century and that their role will be even more powerful in the twenty-first. But what is an image and what can an image be? _Releasing the Image_ understands images as something beyond mere representations of things. Releasing images from that function, it shows them to be self-referential and self-generative, and in this way capable of producing forms of engagement beyond spectatorship and subjectivity. This understanding of images owes much (...) to phenomenology—the work of Husserl, Heidegger, and Merleau-Ponty—and to Gilles Deleuze's post-phenomenological work. The essays included here cover historical periods from the Romantic era to the present and address a range of topics, from Cézanne's painting, to images in poetry, to contemporary audiovisual art. They reveal the aesthetic, ethical, and political stakes of the project of releasing images and provoke new ways of engaging with embodiment, agency, history, and technology. (shrink)

The essay examines Alain Badiou's concept of ‘anabasis’ and its disclosure in the poetry of Paul Celan. As a conceptualisation of the process of subject formation, anabasis is read as a rejoinder to that of ‘homecoming’, found in Martin Heidegger's appropriation of Friedrich Hölderlin's poems. Following an excursus on the philosophical and the ethical stakes at the heart of these movements, the essay close-reads two of Celan's poems in order to reveal poetry's own attempts to think through trajectories of emergent (...) subjectivities in the wake of twentieth-century violence, as well as the as yet understated centrality of Celan's poetry to Badiou's wider philosophical project. (shrink)

Philosophy of art is traditionally concerned with the definition, appreciation and value of art. Through a close examination of art from recent centuries, _Art and Phenomenology_ is one of the first books to explore visual art as a mode of experiencing the world itself, showing how in the words of Merleau-Ponty ‘Painting does not imitate the world, but is a world of its own’. An outstanding series of chapters by an international group of contributors examine the following questions: Paul Klee (...) and the body in art colour and background in Merleau-Ponty’s phenomenology of art self-consciousness and seventeenth-century painting Vermeer and Heidegger philosophy and the painting of Rothko embodiment in Renaissance art sculpture, dance and phenomenology. _Art and Phenomenology_ is essential reading for anyone interested in phenomenology, aesthetics, and visual culture. (shrink)

From Plato's _Republic_ and Aristotle's _Poetics_ to Nietzsche's _The Birth of Tragedy_, the theme of tragedy has been subject to radically conflicting philosophical interpretations. Despite being at the heart of philosophical debate from Ancient Greece to the Nineteenth Century, however, tragedy has yet to receive proper treatment as a philosophical tradition in its own right. _Philosophy and Tragedy_ is a compelling contribution to that oversight and the first book to address the topic in a major way. Eleven new essays by (...) internationally renowned philosophers clearly show how time and again, major thinkers have returned to tragedy in many of their key works. _Philosophy and Tragedy_ aks why it is that thinkers as far apart as Hegel and Benjamin should make tragedy such an important theme in their work, and why, after Kant, an important strand of philosophy should present itself tragically. From Heidegger's reading of Sophocles' Antigone to Nietzsche and Benjamin's book-length studies of tragedy, _Philosophy and Tragedy_ presents an outstanding and original study of this preoccupation. The five sections are organised clearly around five major philosophers: Hegel, Holderlin, Nietzsche, Heidegger, and Benjamin. (shrink)

These essays suggest a number of answers to the question: Why Nietzsche still? They show that Nietzsche still has a great deal to say to those who read him with an eye toward developing critical responses to the present and the future that will follow.

This book is an anthology of both previously published and unpublished material consisting of four parts: "Poe and Lacan," "On psychoanalytic reading," "Derrida and responses," and "Other readings." The heart of the anthology is, however, the debate between the psychoanalyst Lacan and the philosopher Derrida. The debate concerns the interpretation of a story written by Poe, "The Purloined Letter." To his long essay on Poe, Lacan gave pride of place by pulling it out of chronological order and placing it as (...) the first essay in his Ecrits. Lacan uses Poe's story to clarify and illustrate the explanatory power of two master concepts in his own theory: the imaginary and the symbolic. Derrida, in "The Purveyor of Truth," reflects critically on Lacan's theory and his selective use of Poe. The anthology acknowledges that it only includes roughly half of Derrida's original article. Nevertheless, Derrida's article still gives the impression of a hastily composed publication. Lacan's essay, however, gives the impression of being overworked. (shrink)

Of the critical eyes that have focused upon Conrad’s Heart of Darkness, perhaps none is as insightful as Edward Said. Said repeatedly turned to Conrad’s tale as a privileged point of access to the tensions of colonialism. What is most remarkable about Said’s reading is the hesitancy and uncertainty that surrounds it – qualities that mirror Marlow’s troubles about his own story. Said’s reading is concerned with the form of the story, with its position as a cultural artifact, a tribute (...) to the society that it represents before that’s culture’s other, that it nonetheless is placed into intimate contact with. Taking Heart of Darkness as a cultural work, while at the same time paying particular attention to the rhetorical richness of the form of the story itself (the narrative displacement, the precise description of the situation of the Nellie, the description of Marlow, the patterned interruption of his voice, etc.), allows one to glimpse the limiting function of colonial culture. At the same time, as such a limit, it provides a place of encounter for counter-narratives, a place where the difference between a colonial society and its other might be revealed through the structural affinities and dissimilarities between their narratives. Tayeb Salih’s Season of Migration to the North is such a counter-narrative, and employs its structural parallels to Conrad’s novella to refashion the cultural limit between the colonizer and colonized. The center of Salih’s novel is the complicated relation between the narrator and Mustafa Sa’eed, both of whom have returned to Sudan following sojourns in England. While there is an obvious (but shallow) parallel here to Marlow and the narrator of Heart of Darkness, the echo is reinforced by the structural parallels of the narrative. The centrality of the Nile in Salih’s story – a river that serves both as a marker of native identity and as a place of civic, colonial projects – echoes both the Thames and Congo; the relations between the narrator, his past, and Sa’eed and his past, reflect and complicate the relations between Conrad’s narrator, Marlow, Marlow’s memory, and, finally, Kurtz. Most telling of Salih’s deliberate engagement with Conrad is the final, brief scene in which the narrator enters the river that (presumably) took Sa’eed’s life and there confronts the question of the maintenance of native identity in the wake of a migration to the heart of colonial power. Here Salih plays on the same structural ambiguities that Conrad only implicitly invokes, and that Said thematizes in his analysis. Like Conrad, he deliberately chooses not to offer a solution. For to offer a solution would be bind a society with a set limit. What we find in Salih’s novel is both the acceptance of culture as a form of political life, and also the rejection of culture as a justification of oppression. As Said notes, Conrad cannot find a way out of his society; he can only invent Marlow as a protest. Salih echoes this protest, but where Conrad’s tale ends in the sterility of darkness, Salih’s, precisely through the distinction of its rhetorical form from Conrad’s (one that also echoes), concludes with an urgent cry for other voices to take up the task of valorizing the multiplicity of cultures that illuminate the globe. (shrink)

Dass Bilder zwischen dem Regime der Dinge und dem Regime der Zeichen niemals einen angestammten Platz erhielten und nicht Gegenstand einer eigenen Wissenschaft wurden, ist keinem wiedergutzumachenden Vergessen geschuldet, sondern Ausdruck eines anfänglichen Skandalons, das historisch auch die Geburtsstunde der Philosophie einläutete. Bilder lassen sich nicht einmal als reine Erscheinungen absondern, weil in ihnen als Wasserzeichen stets durchscheint, was sie sichtbar werden ließ. An Husserls Grundlegung einer Phänomenologie des Bildes lässt sich das obstinate Unterfangen verfolgen, die Bilderscheinung von jeder medialen (...) Kontamination freizuhalten. Emmanuel Alloas Archäologie der Medienvergessenheit legt jenes Doppelparadigma frei, das die westliche Tradition seit Anbeginn begleitet – Transparenz und Opazität – und sich vor jenen Begriff schiebt, den es zu übersetzen beanspruchte: In der aristotelischen Wahrnehmungstheorie bezeichnet das Diaphane die Fähigkeit eines Mediums, die Form von etwas anzunehmen, ohne es zu sein. Auf unerwartete Weise wird durch Aristoteles’ Lehre vom Diaphanen erhellt, worin die Macht von Bildern liegt. (shrink)

Some more recent scholarship that challenges received wisdom about Gadamer not withstanding, it remains common to associate his hermeneutical approach to art and literature, along with his hermeneutics generally, with political and cultural conservatism. In this essay, however, the author argues that some of Gadamer’s significant, but underappreciated, later essays on Hegel’s aesthetics further support and nuance the rising recognition of Gadamer’s sensitivity to the discontinuities, dislocations, and fractures that pervade any experience of the past. Specifically, Gadamer’s critical response in (...) these essays to Hegel’s familiar thesis that art is a “thing of the past” sheds light on the special hermeneutical difficulties faced in the present historical juncture—a time, which Gadamer suggests is increasingly alienated from its own heritage. As I wish to show, Gadamer believes this schism to signal not an end of Western art, but, rather, a liberation of art that releases novel possibilities for artistic practice and for the interpretation of art. Far from being a conservative who might deny or lament the rupture of tradition, then, Gadamer’s take on the Hegelian thesis reveals Gadamer to acknowledge and even embrace this withdrawal of tradition as a source of new meaning and experience. (shrink)

In this essay, the author maintains that Gadamer’s affirmation of the relation among art, truth, and beauty is less a sign of conservatism or nostalgia than it is a key to his innovative and insightful examination of our experience of art. Gadamer’s approach to both the truth claim and the beauty of art flows from his association of the being of art with enactment (Vollzug). Yet, increasingly over the course of his writings, Gadamer appears to relinquishes talk of art in (...) this sense as a ,work‘ in favor of an emphasis on the kinship between art and the phenomenon of play. In light of this shift, it is argued that Gadamer’s conception of the truth claim and beauty of art may best be understood not as properties of a product or artifact, of something already enacted and thus complete in itself, but, instead, as nothing other than the very enacting of that freedom which he finds at the heart of human play. (shrink)