This essay focuses on and attempts to uncover the truly radical character of Nietzsche’s early “philological” work, specifically asking after the benefit he claims the study of classical culture should have for our present, late-modern historical moment. Taking up his study of the Pre-Platonic thinkers in 1873’s Philosophie im tragischen Zeitalter der Griechen , the first section analyzes Nietzsche’s statement that history’s principle task is the uncovering of Persönlichkeiten . I argue that it is not at all the subjective character (...) of a psychologized individual that Nietzsche has in mind, but rather the moment of persönliche Stimmung or ‘being attuned’ to the world, which grounds and gives rise to thinking. In the second section, I show that the phusis or ‘nature’ to which the thinker is exposed in this attunement is comparable to the tension between the Dionysian and Apollonian natural forces in tragic poetry, as Nietzsche understands it. This dynamic conception of phusis does not provide a metaphysical substrate or an objectively real ground to which we might return via that Greeks, but is rather essentially phenomenal , i.e. it is nothing other than the movement into and out of appearance, which always entails and requires its reception by the human being to whom it appears. In the final section of the essay, this origin proves for Nietzsche not to be located in a distant past moment. Rather, it is the abyssal origin of the tradition that is always already effective in our present moment, informing our contemporary conceptions of our world and ourselves. (shrink)
In the Cratylus, Socrates seems to present the Logos essentially as an always already present yoke binding us to our world. However, this prior and necessary bond does not entail that the world is revealed perfectly and completely in the terms and structures of our human language. Rather, within this bond, the Logos opens up a distance between being and appearance, insofar as it points to »what is« as the withdrawn possibility condition for the appearances ordered, gathered and separated according (...) to names. Plato presents the essential ambivalence of logos not only in Socrates' elenctic arguments, but also in the etymology of Hermes, where the possession of language is a cryptic message indicating to humans a divine wisdom. Thus, as essentially the recipient of such a message, as having been called toward being by the gods, the proper, indeed pious, human response is dialectical question and answer, Socratic searching and investigating together. (shrink)
In this essay, I begin by observing that dialectic is the method Aristotle explicitly associates with the activity of philosophizing, both when he introduces dialectic in the Topics and also, with some refinements and developments, in the methodological discussions of later works, the opening pages of the Physics being taken as exemplary. I then interpret these passages, attending very closely to the argument, the imagery, and the etymological resonances of Aristotle’s terminology. This leads me to argue that dialectic, in both (...) its earlier and later forms, is best understood as a proto-phenomenological method, which is to say, a method of clarifying what is already presenting itself in the initial, especially promising, pre-philosophical ‘appearances’ of one’s subject matter, for which Aristotle’s term is ἔνδοξα. Finally, given that this proto-phenomenological dialectic is a method for arriving at an understanding of ‘what is,’ its employment seems to entail a quite radical underlying Aristotelian ontology. That is, Aristotelian thought would seem to be aimed not at objective being, but rather at phenomenal being. (shrink)
In this essay, I attempt first to clarify what non-metaphysical thinking as a thinking "in the Between" might mean for Heidegger, as presented in his Beiträge zur Philosophie . After determining this as the proper response to the self-concealment Heidegger sees as grounding the appearing of beings, I then attempt to show that the elenctic method of Socrates in Plato's early dialogues exhibits something like the same dynamic. That is, Socrates attempts to situate himself and his interlocutors in a space (...) defined both by the always prior appearance of 'what virtue is' to human beings and by the inevitable obscurity or withdrawal in that very appearing. In so doing, I hope to indicate that something as simple and familiar as Socratic elenctic conversation, although a relic of our tradition, might if properly understood provide us today with one model for how thinking could proceed after Heidegger's critique of metaphysics. (shrink)
A Companion to Ancient Philosophy is a collection of essays on a broad range of themes and figures spanning the entire period extending from the Pre-Socratics to Plato, Aristotle, and the Hellenistic thinkers. Rather than offering synoptic and summary treatments of preestablished positions and themes, these essays engage with the ancient texts directly, focusing attention on concepts that emerge as urgent in the readings themselves and then clarifying those concepts interpretively. Indeed, this is a companion volume that takes a very (...) serious and considered approach to its designated task—accompanying readers as they move through the most crucial passages of the infinitely rich and compelling texts of the ancients. Each essay provides a tutorial in close reading and careful interpretation. Because it offers foundational treatments of the most important works of ancient philosophy and because it, precisely by doing so, arrives at numerous original interpretive insights and suggests new directions for research in ancient philosophy, this volume should be of great value both to students just starting off reading the ancients and to established scholars still fascinated by philosophy's deepest abiding questions. (shrink)
Situating the Philebus within the greater context of Plato’s late-period reconsideration of his own “theory of Ideas,” this essay offers a coordinated interpretation of two of the dialogue’s central passages—the discussion of the God-Given Method and that of the Fourfold Ontology. These passages prove to be interested not in Ideas apart from their material instantiations, as often seemed the case in the middle period dialogues, but in Ideas as they work on and even in materiality as such, producing an intelligible (...) and even beautiful order in the sensible world. This entails, the essay suggests, something like a shift in the direction of Plato’s philosophical gaze and interest toward material being, and thereby a sort of return home to the embodied human condition. (shrink)
Taking very seriously its anti-Parmenidean character, this essay locates a radically temporalized ontology at the heart of Aristotle’s Physics. We first concentrateon Aristotle’s discussion of kinêsis or ‘change’ as always between opposites, drawing the conclusion that the archai that govern and constitute a change, as opposites, cannot be present in the change itself. Thus, change is what it is by virtue of what is necessarily not present. We then draw the implications of this discussion for chronos or ‘time,’ defined in (...) Book IV of the Physics as “the number of change.” Here, we uncover the ecstatic present moment of natural, changing things, a present constituted by its past and future, which is to say by what is emphatically not present. (shrink)
In this paper, I begin with the most basic tenet in Aristotelian metaphysics, namely that ousia or ‘substance’ is ontologically prior to the nine other categories of being, including the pros ti, the condition of being literally ‘toward something’ or what is sometimes called 'relation' or ‘relationality.’ Aristotle repeats this frequently throughout his works and it is, I take it, manifest. However, in the Politics, so I argue here, Aristotle’s dialectical study of common appearances leads him to describe ‘human being’ (...) in a way that runs contrary to this. That is, insofar as the human being is the zoon politikon or ‘political animal,’ it seems to be constituted as the being it is precisely by way of its relatedness to other human beings in the polis. I then try to determine the moment of ‘birth’ for this essentially relational being, and find that it may not be the emergence of the human from the womb, but rather, at least according to this interpretation of the Politics, the moment when we enter into the logos together with others in posing, discussing, debating, and re-posing the abidingly open question of the human Good. (shrink)
In the Phaedrus, Plato’s Socrates distinguishes himself from the natural scientists of his day and indicates that the true philosophical attitude, the love of realhuman wisdom, shares something essential with the mythical attitude. In the following essay, I argue that Socrates criticizes science here for its failure to attend to aporia, to recognize an essentially questionworthy aspect of the world of human experience, an aspect I will refer to as distance. Furthermore, I argue that Socrates aligns his own philosophical activity (...) with myth in its maintenance of this distance. (shrink)
The German-born, Chicago-based Latvian artist Peter Karklins creates small, pencil-and-paper drawings that capture the processes and energies just below the surface of all human life. The complexity of his organic forms is matched by the artist’s meticulous recording of the times and circumstances of the creation of each image on its reverse, providing viewers with added insight into these rich images. In this visually compelling collection, brief essays by an eclectic and distinguished group of scholars deploy a wide range of (...) theoretical approaches—phenomenological, psychoanalytic, deconstructive, iconographical, historical, and musicological—to interpret Karklins’s unusual images and artistic practices. Distinctive in its subject matter and execution, this volume shows Karklins’s work to be a fertile topic for discussion and a vibrant example of intuitive art. The essays in this book also tackle larger questions of philosophy, aesthetic theory, and art history, while offering a fully realized portrait of Karklins as an artist. (shrink)
