The premise of this paper is that the goal of signifying Being central to ontological phenomenology has been tacitly subverted by the semiotic structure of conventional phenomenological writing. First it is demonstrated that the three components of the sign—sign-vehicle, object, and interpretant (C. S. Peirce)—bear an external relationship to each other when treated conventionally. This is linked to the abstractness of alphabetic language, which objectifies nature and splits subject and object. It is the subject-object divide that phenomenology must surmount if (...) it is to signify Being. To this end, we go beyond alphabetic convention and explore the use of iconic signs. Following the lead of Merleau-Ponty, the iconic expression of Being is seen as entailing paradox, and we are directed to the fields of visual geometry and topology, where we work with three paradoxical figures: the Necker cube, Moebius strip, and Klein bottle. While the Necker cube and Moebius prove to have their limitations in fully signifying Being, the Klein bottle, possessing an added dimension (made palpable via a stereogram), can embody Being more intimately, provided that it is approached in a radically non-classical way. The essay closes with the realization that the most concrete signification of Being must be a self-signification. Here the author removes his cloak of anonymity and makes his presence tangibly felt in the text. (shrink)

People diagnosed with Borderline Personality Disorder (BPD) may engage in what are called self-injurious acts. This paper situates self-injury within a larger cultural context in which body modifications are differently evaluated according to inscribed meanings. To provide a framework for ethical interactions with people diagnosed as BPD who self-injure, I draw on two concepts from theories of meaning: signification and uptake. I suggest possible significations of self-injury, but argue that clinicians have a duty to give (...) uptake to the patient's own interpretations of her behavior. Proper giving of uptake, which involves responding to others' communications such that the communicator's integrity is preserved, is crucial to ethical practices for clinicians, and uptake is never simply neutral or objective. This analysis suggests that sense-making about a client's self-injurious acts involves an understanding not only of the client's own interpretation of her behavior and its meaning, but also of the discursive production and function of such signs in our culture. I offer five maxims to guide the therapeutic process for clinicians working with self-injurious behavior in BPD patients. (shrink)

Paul Spade argues that there is a tension between Ockham’s descriptions of the various types of supposition at Summa Logicae I.64 and a rule he provides at sl I.65. In later papers, Spade proposes a solution: a term supposits significatively just in case it supposits for everything it signifies. I evaluate Spade’s proposal and explore some of its implications. I show that it successfully resolves the tension and that it suggests a way to more precisely describe material and simple supposition. (...) I argue furthermore that Ockham is committed to the proposal by showing that uncontroversial features of his theory imply it. In doing so, I raise and refute three potential objections. Finally, I highlight and discuss a controversial result: self-signifying conventional terms can supposit materially. I argue that this result makes for a more satisfying theory. (shrink)

Returning to my monograph of 1996, Subjectivité et alterité dans la philosophie de Emmanuel Lévinas, I intend to illustrate an issue that is central in life and thought in today's world: the possibility that self has of justifying itself before the other. This possibility subtends the constitution of identity in relation to the individual, class, nation, and community. As regards Western thought, all its culture is a justification towards others. Peoples inhabiting the so-called developed world (15% of the world (...) population) still succeed in justifying themselves in the face of peoples inhabiting the underdeveloped world (85% of the world population), with all necessary means. The reason of identity is reason against the other. But for how long can this situation last? At a certain point it will be necessary to answer to the other not only for self but also for the other him/herself. (shrink)

This contribution investigates the idea that an act of signification can be understood in terms of the self-referentiality that is typical of the biological organization. The capacity of a living being to interpret and appreciate its own environment can be understood as being grounded in its ability to perform self-referential experiences. We may call this the living being’s capacity of sense. In any act that generates sense, it is possible to distinguish a process of signification from (...) its outcome, but such a distinction between logical levels inevitably demands an external observer’s point of view. Hence, the concept of ‘subjectivity’ can be defined in terms of an absence of such distinction between logical levels. This absence is considered pivotal both for the self-referential organization of the living and for the generation of sense. A case example from the field of psychotherapy is added to illustrate the distinction as well as the non-distinction between logical levels of description. (shrink)

The article investigates the concept of self-illness ambiguity (SIA), which was recently re-introduced in the philosophy of psychiatry literature. SIA refers to situations in which patients are uncertain about whether features (symptoms, signs) of their illness should be attributed to their illness or to their ‘selves’. Identification of these features belongs to a more encompassing process of self- definition and -interpretation. The paper introduces a distinction between the notions of self-relatedness, self-referentiality (or: implicit self-signification), (...) self-awareness and self-interpretation. Each of these notions offers a different perspective on SIA, but these perspectives do not exclude one another. A further distinction will be developed between primary, secondary and tertiary forms of self-referentiality. The practical and conceptual relevance of these distinctions will be illustrated with case vignettes. Throughout the paper our findings will placed in the context of other philosophical work on the self, especially in the field of narrative theory (Ricoeur), phenomenology (Ratcliffe) and philosophy of mind. The article closes with a brief discussion about the appropriateness of the term ambiguity and the potential of SIA as concept in the context of clinical psychiatry. Directions for future work will be indicated. (shrink)

The Bradwardine-Read multiple-meanings solution to paradoxes invented in 1320s and formally reconstructed and developed in 2000s is based on the so-called “closure principle for signification”, in particular, for sentential meaning. According to this principle, sentences are assumed to signify whatever they imply. As a consequence, paradoxical sentences are proved to signify their own truth and thereby are reduced to simply false self-contradictions. One of the problems of this solution to paradoxes is that the closure principle over-generates if sentences (...) are closed under unrestricted entailment. The present proposal will introduce a restriction based on what will be called the “dynamic closure principle”: sentential meaning will be regarded as closed under the inference steps performed in the (actual or optimal) process of evaluating the respective sentence’s truth-value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 17-21 [Access article in PDF] Self-Injury:Symbolic Sacrifice/Self-Assertion Renders Clinicians Helpless Christa Krüger Keywords feminism, iconic communication, moral conflict, oppression, psychiatrist/psychologist roles, societal norms. POTTER'S PAPER CONSIDERS self-injury in women diagnosed with borderline person ality disorder (BPD) to be a form of body modification where the body is used to communicate meaning. She touches on symbolism as a possible explanatory theory (...) for this sort of self-injury. She also refers to the culture of body commodification as underlying self-injury. She then argues that clinicians have a duty to give uptake to the patient's own interpretations about the meaning of the self-injury. Giving uptake is a virtuous approach for ethical interactions with people diagnosed with BPD who self-injure, and it aims to preserve the communicator's integrity, along with other benefits. Potter offers five maxims for giving uptake properly. However, I shall argue that giving uptake can be very difficult for clinicians, and that an appreciation of this difficulty depends on an expansion and linkage of some of the theories that she touched on. Self-injury is revisited experimentally as a double-edged sword of symbolic sacrifice and iconic-symbolic self-assertion. This revisiting aims to illustrate how clinicians might be caught in a double bind, where giving uptake properly might be very difficult if not more or less doomed to fail.Potter's paper starts by situating self-injury in a broader discourse of body modifications. In this discourse the body is being used as a text, a tool to communicate meaning. The meaning that is communicated might be difficult or impossible to articulate otherwise (by using words, for example). The meaning of the communication is embedded in a context of social, cultural, religious, political, and other norms. Potter explores possible interpretations of the meaning of self-injury in women with BPD, including an interpretation of self-injury as symbolic sacrifice. She suggests that a cultural understanding/nonunderstanding of the meaning of a particular instance of self-injury is an important determinant of whether such self-injury is considered pathological/nonpathological. She then shifts the focus to the present-day culture in which women's bodies are commodified and objectified, and where women become alienated from their bodies. Self-injury might then be interpreted as an attempt to re-own one's body as a part of oneself. This re-owning is a socially transgressive act that violates repressive norms for the bodies of women. [End Page 17]Notwithstanding these possible significations of self-injury, Potter then argues that clinicians have a duty to give uptake to the patient's own interpretations, instead of jumping to conclusions (my oversimplification) about the meaning of the self-injury. Giving uptake, then, constitutes a framework for ethical interactions with people diagnosed with BPD who self-injure, and it aims to preserve the communicator's integrity. Potter offers five maxims for giving uptake properly.At the risk of losing their essence, I translate the five maxims for practicing psychiatrists as involving the following: critical self-reflection about one's own conceptual framework and cultural context; being receptive to the patient's conceptual framework and cultural context; giving the patient the benefit of the doubt; being open to the emergence of new meanings of self-injury; and keeping a range of possible interpretative options open, rather than insisting on having the final word. We should try to understand what the world looks like from the patient's position. All of this requires some moral effort.Potter describes a number of benefits that result from giving uptake. Giving uptake is a crucial corrective to the human tendencies of becoming overly committed to prevailing societal norms and conceptual schemes (stuck in our ways), of imposing our views on others, and of silencing or distorting the communications of our patients. Giving uptake allows clinicians to be dialogically responsive and to treat patients with respect and dignity. Giving uptake fosters trust in a therapeutic relationship where clinicians do not exploit their patients' vulnerabilities. Giving... (shrink)

With the ternary relationship of influence and cooperation between sign, object, and its interpreter in the semiotic rapport as a starting point, the present study aims to capture the “productive tension” of semiotics and communication in the Japanese advertising discourse. The advertisement, considered a semiotic system which ranks the fundamental functions of language in a particular manner, searches for new methods of communication, of message production, directing the sign towards the symbolic space of communication. In trying to measure this symbolic (...) fund of mass communication, the following text wishes to argue, from the perspective of rhetoric and cultural semiotics, that in the Japanese advertising message which is not transmitted mechanically between speaker and listener, one may recognise a model of impressiveness alongside a model of stimulation or of insertion . Also, calling on “syncretic” semiotics, this research devoted to the Japanese advertising discourse wishes to probe the way in which meaning is constructed through the act of signification resulted from the interaction of the verbal sentence with procedures and strategies that manifest themselves in several types of language, such as the visual, auditory, gestural, etc. (shrink)

In Levinas’s early works, the ‘body as subjectivity’ is the focus of research bearing significant implications for his later philosophy of the body. How this is achieved becomes the thrust of this article. We analyze how the existent, through hypostasis, emerges hic et nunc, and explores further its effort to exist is effected in its relation to existence. In delineating this, we argue that the existent does not emerge from the il y a as an idealistic subject, but rather is (...) born as a natural subject. This is arguably the most remarkable aspect of Levinas’s analysis of the dawn of the bodily subject. However, the subjectivity of the subject is to be found in the inescapable self-possession of its embodiment. The body, in turn, is a conditional possibility for being a corporeal subject. We argue that the subject as a being in the flesh is the meaning of the embodied human subject, and it bears fertile implications for the ethical signification of the body. In re-conceiving the meaning of the ‘body as subjectivity’ to ‘ethical signification of the body’ against the odds of the traditional dichotomies, we argue that Levinas tries to overcome the bio-political understanding of racist conception of the body subject. Given this ethical meaning beyond materiality we reconsider how the embodied subject is a radical passivity as a ‘here I am’. In suggesting the implication of this claim with Levinas we find how the ethical subjectivity is beyond dualistic assertions and racist conceptions. (shrink)

Résumé Je distingue deux variétés de conscience de soi. J ’ appelle la première “ conscience de soi perspective ”. Je rends compte de sa nature et j ’ analyse sa relation aux éléments suivants: le test du miroir de Gallup; l ’ immunité à l ’ erreur d ’ identification selon Shoemaker; la possession par le sujet conscient de l ’ idée d ’ une pluralité d ’ esprits; et quelques-unes des idées de Sartre sur ce que c ’ (...) est que se concevoir soi-même comme objet. J ’ appelle “ conscience de soi réflexive ” une deuxième variété de la conscience de soi. Je rends compte de sa nature et de sa signification épistémologique, et je considère les manières dont la coopération de la conscience de soi perspective et de la conscience de soi réflexive est une condition nécessaire à la réalisation par le sujet pensant de certains objectifs épistémiques. Je conclus par quelques réflexions sur l ’ importance de la conception métaphysique des sujets de la conscience et de leurs propriétés pour l ’ explication de phénomènes épistémiques et conceptuels. (shrink)

The ownership condemned with such rigor by the mystics, and often called impurity, is only the search for one's own solace and one's own interest in the jouissance of the gifts of God, at the expense of the jealousy of the pure love that wants everything for God and nothing for the creature .... Ownership, of course, is nothing but self-love or pride, which is the love of one's own excellence insofar as it is one's own, and which, instead (...) of coming back completely and uniquely to God, still to a small extent brings the gifts of God back to the self so that it can takepleasure in them. (Fénelon: quoted in Nancy, SL, 94)Love defines itself as the absolute opposite and as the destruction of self-love. Self-love is not simply the love of the self; .... One can love oneself with a real love, and it might even be that one must do so .... But self-love, understood according to the signification the spiritual authors gave to it, .... is the love (which, from this moment on, is no longer one) of possession. It is the love of the self as property. (pp. 94-5). (shrink)

Kym Maclaren’s and David Morris’ edited volume Time, Memory, Institution: Merleau-Ponty’s New Ontology of Self is an excellent study of Maurice Merleau-Ponty’s concepts of memory, temporality and institution. Its chapters examine these concepts in their relation to his indirect ontology, together revealing that selfhood is instituted via ontological disparity or divergence (écart). In this review, I explore what I take to be the most salient insights of the book’s authors, and suggest that the volume as a whole repositions phenomenology (...) towards a method that is implicated and operates in the movements of Being itself, and therefore calls for a critical phenomenology.Le volume Time, Memory, Institution: Merleau-Ponty’s New Ontology of Self dirigé par Kym Maclaren et David Morris présente une excellente étude des concepts de mémoire, temporalité et institution chez Merleau-Ponty. Ces concepts sont examinés en rapport avec l’ontologie indirecte de Merleau-Ponty, afin de révéler que le soi s’institue à travers un écart ontologique. Dans ce compte rendu, j’explore les intuitions des auteurs que je considère comme étant les plus significatives et je cherche à montrer comment l’ouvrage dans son ensemble vient replacer la phénoménologie dans la perspective d’une méthode qui opère dans les mouvements de l’Être lui-même, et appelle donc à une critique de la phénoménologie.Kym Maclaren e David Morris sono i curatori del volume Time, Memory, Institution: Merleau-Ponty’s New Ontology of Self che presenta un’eccellente analisi dei concetti di memoria, temporalità e istituzione nel pensiero del filosofo francese. Queste nozioni sono indagate in relazione all’ontologia indiretta di Merleau-Ponty, rivelando allo stesso tempo che il sé si istituisce a partire dalla disparità (écart) o dallo scarto ontologico. In questa recensione, mi concentro su quelli che ritengo essere gli apporti più significativi di questa opera collettiva, per mostrare come il volume nel suo insieme venga a riposizionare la fenomenologia nella prospettiva di un metodo che opera nei movimenti dell’Essere stesso e quindi implica una critica della fenomenologia. (shrink)

The coevolution of objectivity and subjectivity and the nature of both their division and connection are central to this paper. Section 2 addresses the nature of meaning from the subjective perspective. Initially, I examine the meaningful engagement that exists between the unicellular organism and its environment. In this respect, I focus on the ontological importance of the qualitative biochemical assimilation of the physical rather than on the evolution of form and function. In Section 3, I broaden the discussion to include (...) multicellular organisms and introduce the idea that meaning, at various levels, qualifies different objective and informational constructs of the world. These determine the character of interactive engagement and reveal much about the way in which an agent signifies the external. In Section 4, I review Darwinian evolution from the position of the existential self. I emphasize that meaning is that which qualifies the human concept of objectivity, rather than that objectivity is that which will help humankind qualify or understand meaning. Ultimately, this outlook challenges scientific disciplines that have tended to obscure the relevance of meaning and sought, instead, to explain it from an epistemological footing. In its overall scope, I try to establish the view that the subjective and objective domains are more nuanced, layered, and intertwined ontologically than the default stance that presents a binary juxtaposition between the two. (shrink)

Les philosophes analytiques contemporains ont contribué à une bonne compréhension de la logique des arguments auto-réfutants. Cependant, bien que Mackie fournisse une analyse perspicace des divers types d'auto-contradiction logique, il échoue dans son appréciation de la signification que revêtent bon nombre d'arguments en vue d'une analyse de l'intentionnalité humaine. L'A. de l'article montre que l'analyse de J. Hintikka surpasse celle de Mackie dans la mesure où elle donne un exposé plus complet de la signification épistémologique des arguments auto-réfutants. (...) Il complète cette analyse avec certaines découvertes propres à B. Lonergan dans ce domaine. (shrink)

THAT DESCARTES WAS INTERESTED from the very start of his philosophic career in developing a method for problem-solving that could be applied generally to the solution of "unknowns" is well known. Also well known is the further development of the method by the introduction of the technique of hyperbolic doubt in his mature, metaphysical works, especially in the Meditations. Perhaps less widely appreciated is the important role that accounts of systems of signs played in the development of his early accounts (...) of a method; it is crucial to the method that the elements of problems be identified and signified by simple and convenient signs that can then be arranged to display the relations among the known elements and the unknown solution. Commentators such as Michel Foucault have brought this interest in signification to our attention and shown the widespread importance of such projects in the seventeenth century. Few, however, have examined the relation between the early projects of signification and the later, metaphysical works. I suggest that one way to understand Descartes' metaphysical turn in his mature work is as an attempt to ground the accounts he has offered of signification in something further: representation, particularly mental representation. From the start, Descartes explains signification by reference to mental representation: a word, figure, or symbol signifies its objects by prompting the mind to think of those objects. Although Descartes offers detailed and comprehensive accounts in works such as the Rules for the Direction of the Mind of what constitutes effective and convenient systems of signification by way of the relations between signifying element, system, and the objects signified thereby, the mental operations that allow signification to operate, especially that of the "intuition of simple natures," is never fully explained. It remains to the mature phase of Descartes' career to crack open the basic operations of our thought by developing the full-fledged doctrine of ideas--a doctrine that makes explicit how an object is represented to a subject. (shrink)

Le dévoilement de soi occupe une part significative des interventions initiales des fils de discussions sur les plateformes numériques de soutien social. Si ce type d’intervention répond au besoin des participants de s’exprimer, de partager leurs émotions, il pose des défis aux interlocuteurs en raison de l’absence de demande explicite de soutien. L’analyse des interactions d’un forum de soutien social en ligne pour personnes atteintes d’un cancer et leurs proches (2017-2018) vise à comprendre comment ce partage d’émotions et d’expériences est (...) interprété et répondu par les pairs, évaluant le cadre interactionnel activé dans de tels contextes. Les résultats montrent que si des actes de prescriptions de comportements et d’attitudes non sollicitées sont présents dans la grande majorité des fils, ils s’articulent finement à des actes d’empathie, qui permettent d’atténuer la force intrusive du soutien. L’analyse révèle aussi comment la formulation du dévoilement de soi influence le soutien offert (empathique/prescriptif). Au final, la présentation des formes d’accomplissement du soutien en réaction au dévoilement de soi permet d’envisager des pistes d’action pour favoriser l’engagement et le bien-être psychosocial des membres de ces forums. (shrink)

Identity has been widely understood in Western societies as a specular construction that operates simultaneously both from within and from outside oneself. However, this process is fiercely changing in a world in which almost every human action is mediated by information and communication technologies. This paper, from a theoretical perspective, aims to discover the main educational implications of this change. For that purpose, we first consider the traditional meaning and process of forming the self in Western culture. Afterwards, we (...) identify and describe the mechanisms for the construction of the self in our current context, highlighting the fact that technologies, in themselves and regardless of the use we make of them, hide implications. Taking this into account, we show to what extent the current development of the self presents shades, conflicts and tangible risks from an educational perspective. We finally conclude that it is essential to promote an education on technology that goes beyond the use regulation in which, up to now, it has been solely focused on. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 25-27 [Access article in PDF] Gender, Body, Meaning:Anthropological Perspectives on Self-Injury and Borderline Personality Disorder Carolyn Sargent THE CENTRAL THEMES OF "Commodity Body/Sign: Borderline Personality Disorder and the Signification of Self-Injurious Behavior" reflect issues that cut across the disciplines represented by this journal and have received increasing attention from anthropologists. Medical anthropologists, as well as psychological anthropologists and others interested (...) in symbolic analysis of the body, have addressed such topics as the culture of biomedicine and the cultural shaping of psychiatric classification, the multiple meanings of body modifications, power relations in therapeutic interactions between doctor and patient, and cultural variation in understandings of normality and abnormality.Curiously, there is little anthropological literature that directly focuses on either borderline personality disorder (BPD) or self-injurious acts per se. Indeed anthropological research on psychiatric diagnosis, classification, and treatment, as well as ethnopsychiatry, include scant reference to personality disorders. One exception is Nuckolls' 1992 article, "Toward a Cultural History of the Personality Disorders," which raises pertinent questions for one of Potter's introductory statements—that the majority of those diagnosed with BPD are women. Nuckolls directly addresses gender ideology and gender roles in the United States in his comparison of antisocial personality and histrionic personality diagnoses. In his paper, he argues that these personality disorders have cultural histories and are strongly congruent with prevailing gender stereotypes, such that men are many times more likely to be diagnosed as antisocial than women and women much more likely to be diagnosed as histrionic (Nuckolls 1992, 37). He also historicizes the emergence of certain behavioral styles that have been seen as characteristic of women and men, and the evolution of psychiatric diagnoses that classify extreme manifestations of these behavioral styles.The issue of why women, rather than men, are more frequently diagnosed with BPD is not elaborated in Potter's article, although she notes the importance of considering the intersection of gender and "identifying behaviors" associated with BPD. Cultural analyses of gender ideology in the [End Page 25] United States might suggest that the connection involves gendered expectations concerning emotionality and relational context but these articulations remain intriguing and underexplored. One might speculate that BPD/self-injury occurs in the context of particular gender ideologies, perhaps in class-based, industrialized societies where the body is highly commodified. It appears that the history of this constellation of symptoms and behaviors remains to be written.Cultural analysis of self-injury, a theme that runs through Potter's article, tends to be embedded in the anthropological literature on body ornamentation, initiation rituals, and "culture-bound" syndromes. Mascia-Lees and Sharpe (1992, 1) describe the body as "a site of adornment, manipulation, and mutilation," practices with roots reaching back as far as 30,000 years, and include as examples head deformation, scarification, foot binding, tooth filing, lip plates, nose rings, tattoos, subincision, and genital cutting.However, the concept of self-injury, as Potter notes, is problematic in the discipline of anthropology given the significance historically accorded to cultural relativism. Correspondingly, body "modification" is not "self-injury" as long as it is socially normative, for example, a facet of an initiation ordeal or body ornamentation (e.g., circumcision, scarification, piercing). Among the rare examples of acts that seem readily identifiable as "self-injury" are New Guinea practices of cutting off a finger to demonstrate mourning and Baatombu (West African) male finger amputation to show grief and anger over a wife's infidelity. Both are, however, considered culturally legitimate and not indicative of pathology.Potter's argument draws heavily on the notion of "body as text," derived largely from literary theory and feminist philosophy (Butler 1990; Jaggar and Bordo 1989). The perspective of "body as text" has influenced anthropological theory over the past two decades, particularly in the interpretive and postmodernist schools of thought. The body as a text of femininity is aptly characterized by Bordo, who argues that the continuum between female disorder and normal femininity is revealed by means of an analysis of symbolic meaning of gender in... (shrink)

Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of (...) articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification. (shrink)

While Descartes's status as a "representationalist" is often a subject of vehement debate, what exactly he means by "representation" is not. I look to Descartes's early work to show that he first conceives of representation through signification, in which the sign and the signified are isomorphic; on this view, relations of representation can be arbitrary and are to be distinguished from relations of resemblance. I then examine images to show the possibility of an image constructing a relation to its (...) viewer, or "subject-position," in which that subject-position fails to display the attributes of extended things. Such a construction might be applied to the "I" of the Meditations--distinct from all extended substances, it nonetheless has direct access to them through its non-objectified sense-ideas. On this basis, I propose a "model" of representation for ideas: an idea represents its object O to a subject-position S through a vehicle of representation X under some relation R. I argue that this model can explain the uses Descartes makes of "represent," particularly for ideas. But it must be understood properly: Descartes comes to conceive of the vehicle of representation simply as the form taken by the direct interaction of the mind and the things objectively present to it--but a form that can take on a life of its own, giving rise to the possibilities of clarity and distinctness or of confusion in ideas. But what is truly novel about Descartes's conception is the mind's ability to form higher-order representations that represent the conditions of representation itself, thereby achieving certainty for some mental representations without starting from any incorrigible, immediate perceptions. This possibility is realized most clearly in the understanding of my nature as a thinking and representing being, where I can represent myself as the subject-position distinct from all extended things, but also can represent myself as joyfully and representatively united with a body all my own. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cultural Transactions: Nature, Self, SocietyRoger SeamonCultural Transactions: Nature, Self, Society, by Paul Hernadi; ix & 156 pp. Ithaca: Cornell University Press, 1995, $27.50 paper.Thinkers have often found the world rather Gaulish—or, if you prefer, have carved it up to make it so. In Cultural Transactions Paul Hernadi starts from the premise that “We typically experience ourselves as objectively existing organisms, players of intersubjectively assigned and evaluated (...) roles, or as subjective selves” (p. 3), which correspond to the nature, society, and self of his subtitle. He then collects and creates triads which are meant to be homologous with the foundational trio. Some of these are traditional (truth, justice, beauty), others are cobbled out of folk psychology (desire with, desire that, desire for), some are taken from other thinkers (Martin Buber’s It, Thou, and I), but most are based on linguistic concepts. Thus, Hernadi sums up at one point by saying, “In the preceding sections I suggest that all discourse involves action, production, and signification, and that doing, making, and meaning tend respectively to predominate in speaking, writing, and thinking—the prime vehicles of communication, expression, and representation in our culture” (p. 28). The process culminates in the postulation of three triangles (discourse, awareness, and value) whose apices and sides constitute two triads. Each side is itself then divided into three, which makes for a total of five triads per triangle (pp. 111, 120, 130), to which we should add about twenty or so spelled out earlier. This is an argument by accumulation for a triadic human universe.Hernadi sees life (and Cultural Transactions is about nothing less) as a complex dance both within and between these cooperative triads: “Yet the natural domain of Its (to be individuated as such by one of Buber’s two Is) and the social domain of Buber’s I-Thou relations would not be what they are without self-conscious individuals who are able to pick out themselves as [George Herbert] Meadian Mes and other particulars as Its or Thous from what [End Page 535] thereby becomes someone’s natural and social environment” (p. 88). Again: “Consensus, coherence, and correspondence have sometimes been invoked as rival criteria of truth. From the present book, they should emerge rather as mutually supportive goals in our lifelong pursuit of interactive doing, self-expressive making, and world-oriented meaning” (p. 109). Sometimes the triads run parallel to each other, and at other times they are nested. Thus, the triad within beauty consists of Dionysian “world-absorbed engulfment” (nature), “ludic” imitation (the social dimension of art), and Apollonian “self-controlled detachment” (self) (pp. 130–31). In the next triad up, Beauty is parallel to self, goodness is the value analogous to society, and truth corresponds to the world.Some of the triads are indeed “quite clever” (p. 142) (Hernadi’s own phrase from a self-reflexive “Epilogue”), as when he writes, “Natural must gives way to social should only to make room, eventually, for personal may as well” (p. 99). This nicely captures our sense that freedom has degrees, but more often there are dubious appropriations and stretched similes. For example, Hernadi uses a mere pronoun to make his case for the possibility of a seamless blending of the three realms—“the ecumenical ‘we’ recombines the first-, second-, and third person perspectives of communication”—and he continues with a very unpersuasive simile—“just as a rapidly spinning top turns the three cardinal colors painted on it into the whitish hue of unrefracted light” (p. 75). This is not an argument, but the expression of a wish.Although each triad is meant to be homologous with the foundational trio, there are quite a few uncomfortable fits. For example, I don’t see how “being with” is the apex formed by truth and beauty, while “being of” comes between justice and beauty, and “being toward” belongs between beauty and truth (p. 130). There are also odd omissions. Hernadi rejects Freud’s id, ego, and superego as insufficiently fine-grained to capture our complex subjectivity (p. 90) (which they were never meant to do), but the parallel to his major triad of nature, self and society seems... (shrink)

This article explores how the later Heidegger and the early Derrida experience and say the “being” of language. Both stumble upon the impossibility of bringing language into language—either because, for Derrida, all terms are implicated in the differential process of semiosis; or because, for Heidegger, articulations are responses called forth from the being of language. This is how we experience the finitude of language. Instead of being plainly nameless, the word comes into presence in its being-absent, but does so in (...) conflicting ways. Derrida’s différance brings into language the infinite self-signification of language, while Heidegger’s Ereignis brings into it the self-concealment of language in propositional statements. Cet article examine comment Heidegger, vers la fin de sa vie, et Derrida, à ses débuts, éprouvent et disent « l’être » du langage. Tous deux découvrent l’impossibilité de faire entrer le langage dans le langage – soit, dans le cas de Derrida, car tous les termes sont impliqués dans le processus différentiel de la semiosis; soit, dans le cas de Heidegger, car les articulations sont les réponses appelées par l’être du langage. C’est ainsi que nous faisons l’expérience de la finitude du langage. Au lieu d’être tout simplement sans nom, le mot trouve présence dans son être-absent, de manières néanmoins conflictuelles. La différance de Derrida fait entrer dans le langage l’auto-signification infinie du langage, alors que l’Ereignis de Heidegger y introduit l’auto-dissimulation du langage dans des formulations propositionnelles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“An Equivocal Couple Overwhelmed by Life”A Phenomenological Analysis of PregnancySara HeinämaaTwo conceptions of human generativity prevail in contemporary feminist philosophy. First, several contributors argue that the experience of pregnancy, when analyzed by phenomenological tools, undermines several distinctions that are central to Western philosophy, most importantly the subject-object distinction and the self-other and own-alien distinctions. This line of argument was already outlined by Iris Marion Young in her influential (...) essay “Pregnant Embodiment: Subjectivity and Alienation” (1984). The other dominant argument is related to the first one, and it states that organic birth is the event that establishes the first experiential separation between the self and the other. On this understanding, the mother-fetus relation would not involve any relations between two corporeal selves; all such relations would be postnatal. This notion has been defended, for example, by Christine Schües (1997; 2000) and Johanna Oksala (2003).1On the other hand, classical phenomenology is dominated by the idea that the rigorous first-person methodology that is essential to phenomenology dictates that the sense of birth must be studied primarily by reflection on the structures of our own recollection or memory. Consequently, the primary sense of human birth would be that of an unattainable limit. This is argued on the basis of the existential fact that we all are born but cannot recall our own birth, or else on the basis of the transcendental fact that the structure [End Page 31] of retention ties each living present to an earlier one and implies that the transcendental ego cannot be subject to generation.2 From this perspective, all analyses and reflections of the experiences of labor, gestation, and pregnancy would be secondary since the sense of birth that these experiences involve is the nativity of another human being and not the nativity of the reflecting self.This paper challenges both the feminist and the classical phenomenological approach. I maintain that careful phenomenological analyses of the experience of pregnancy undermine both notions. Such analyses show, on the one hand, that pregnancy does not imply a nondistinction or self-other fusion but on the contrary involves a specific self-other divide. At the same time, they demonstrate that the sense of birth is more complex than the classical recollection-paradigm suggests and that it includes more components than the signification of an unattainable limit. A proper phenomenology of birth must take into account not only the universal fact that we all are born, but also the equally universal fact that each of us is born from another human being, that is, some other human subject.3 This other human being who “gave” us birth or “from whose flesh we were born” provides us with a unique perspective on our own past, beyond the limits of our own recollection. Her perspective is incomparable to any other external perspective; rather than simply giving us an additional third-person viewpoint on our own organic birth, this one person is able to open a second-person perspective on our pre- and postnatal life and the transition between them—all of which is beyond our own recollection.My argument proceeds by the following steps:First, I develop a fresh discourse on the experience of pregnancy, by studying a set of remarks to be found in Julia Kristeva’s postphenomenological discourse on maternity, on the one hand, and in Simone de Beauvoir’s existential-phenomenological discourse on feminine embodiment, on the other hand. I use these remarks as leading clues for a novel phenomenological study of the experience of pregnancy.4 Contra Young’s influential account mentioned above, I argue that gestation, as experienced by women who live it in the first person, includes a separation between two sensory-motor beings in a nesting relation: the pregnant self and the embryonic other. The alternative account that I provide hinges on my analysis of the experience of fetal movements and the role of touch-sensations and kinesthetic sensations in such experiences. Ultimately, I argue that pregnancy does not erode the self-other boundary or the own-alien boundary but reestablishes both divisions.Second, I compare my account of the experience of pregnancy to Merleau... (shrink)

This essay starts with the possibility of situating Derrida’s aporetic ethics in the domain of normative ethics and argues that Derrida’s reflection on ethics is enrooted in the specific way he conceives the phenomenological notion of auto-affection. In the second section, I analyze, in the early work, auto-affection with signs and show its centrality in Derrida’s first encounter with Levinas’s philosophy. Derrida refuses to substitute the hetero-affective relation to the Other for auto-affection as the source of universal law and normativity. (...) He does not sacrifice universality and tackles the problem of autonomous ethical decision-making even though he welcomes through affectivity the signification of the singular other, which is irreducible to conceptual, emotive, and normative self-relation. This background helps us understand the rootedness of ethical aporias in a reflection on auto-affection. (shrink)

The ArgumentThis paper focuses on the opening of a discursive space: the emergence of informational and scriptural representations of life and their self-negating consequences for the construction of biological meaning. It probes the notion of writing and the book of life and shows how molecular biology's claims to a status of language and texuality undermines its own objective of control. These textual significations were historically contingent. The informational representations of heredity and life were not an outcome of the internal (...) cognitive momentum of molecular biology; they were not a logical necessity of the unravelling of the base-pairing of the DNA double-helix. They were transported into molecular biology still within the protein paradigm of the gene in the 1940s and permeated nearly every discipline in the life and social sciences. These information-based models, metaphors, linguistic, and semiotic tools which were central to the formulation of the genetic code were transported into molecular biology from cybernetics, information theory, electronic computing, and control and communication systems — technosciences that were deeply embedded with the military experiences of world war II and the Cold War. The information discourse thus became fixed in molecular biology not because it worked in the narrow epistemic sense (it did not), but because it positioned molecular biology within postwar discourse and culture, perhaps within the transition to a post-modern information-based society. (shrink)

Illness and trauma challenge self-narratives. Traumatized individuals, unable to speak about their experiences, suffer in isolation. In this paper, I explore Kristeva’s theories of the speaking subject and signification, with its symbolic and semiotic modalities, to understand how a person comes to speak the unspeakable. In discussing the origin of the speaking subject, Kristeva employs Plato’s chora (related to choreo , “to make room for”). The chora reflects the mother’s preparation of the child’s entry into language and forms (...) an interior darkroom, the reservoir of lived experience, from which self-narratives issue. Unable to speak of their suffering, traumatized individuals need someone to help them make room for a time of remembrance, someone who is a willing and capable listener. I call such a person a healing witness . Through the mediating presence of the healing witness, fragmented memories of trauma are recreated and incorporated into self-narratives that are sharable with others. Unfortunately, opportunities for witnessing are vanishing. In the last section, I examine the failure of modern media and communication technologies to bear (“hold,” “carry,” “transport”) acts of witnessing. I argue that they perturb the semiotic. According to Kristeva, meaning arises from the dialectical tension between the semiotic (drives and affects) and the symbolic (logic and rules) and is threatened by arid discourse, psychosomatic illnesses, and outbreaks of violence when the semiotic is not represented . Unless we open technology to the imaginary, we risk losing the capacity to bear witness to one another and to create narratives and connections that are meaningful. (shrink)

Comment se fait-il que, dans nos sociétés, nous soyons encore et toujours obligés de dire vrai sur nous-même? À la fin du premier semestre 1982, Michel Foucault prononce à l'Université Victoria de Toronto un cycle de conférences dont le thème, s'inscrivant dans le cadre du projet d'une généalogie du sujet occidental moderne, est la formation historique de l'herméneutique de soi. Après avoir analysé le type de connaissance de soi et de rapport à soi qui caractérise l'askêsis gréco-romaine, où il s'agit (...) pour le sujet d'établir avec lui-même une relation de possession et de souveraineté, Foucault étudie le renversement qui conduit, aux premiers siècles du christianisme, à la naissance d'une herméneutique de soi conçue comme l'exploration et le déchiffrement par le sujet de sa propre intériorité. Pour définir ce renversement, Foucault introduit ici une distinction inédite entre deux formes d'ascèse, l'une tournée vers la vérité, l'autre tournée vers la réalité. Parallèlement aux conférences, Foucault conduit à Toronto un séminaire consacré à l'étude détaillée de textes des auteurs anciens sur lesquels s'appuient ses analyses de la culture de soi antique. Il y présente également une esquisse des différentes significations de la notion de parrêsia dans l'Antiquité, qui allait devenir le thème principal de ses derniers travaux."--Page 4 of cover. (shrink)

In this article, I seek to reclaim a place for teaching in face of the contemporary critique of so-called traditional teaching. While I agree with this critique to the extent to which it is levelled at an authoritarian conception of teaching as control, a conception in which the student can only exist as an object of the interventions of the teacher and never as a subject in its own right, I argue that the popular alternative to traditional teaching, that is (...) to make the teacher a facilitator of learning, is insufficient. The reason for this has to do with the fact that learning, understood as a process of interpretation and comprehension, ultimately also does not allow the student to exist as a subject. I provide support for this point through a reading of two articles by Emmanuel Levinas in which he puts forward the case that our subjectness is not generated through our own acts of signification, but is rather constituted from the outside, that is, through the address of the other. It is in this event, where a different conception of teaching emerges—one that, unlike authoritarian teaching and unlike self-generated adaptive learning, is precisely aimed at making the subjectness of the student possible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Radical Female Imaginary: Temporality and Embodiment in Irigaray’s EthicsEwa Plonowska Ziarek* (bio)An important intervention of Irigaray’s work on sexual difference into the postmodern debates on ethics is the mediation between two different lines of ethical inquiry: one represented by the work of Nietzsche, Deleuze, Foucault, and, to a certain degree, Castoriadis, and the other by the work of Levinas, Derrida, and Lyotard. Although the two trajectories both (...) depart from the notion of morality as a universal system of law and judgment, they represent different approaches to freedom and obligation. For Levinas, Derrida, and Lyotard, the ethical significance of alterity disrupts social systems of signification and, in this sense, marks transcendence as a break in discourse, whereas for Nietzsche, Deleuze, and Foucault, otherness is expressed within the endless variations of becoming. To elucidate this difference, it might be useful to recall John Caputo’s distinction between two kinds of postmodern ethics—the Nietzschean heteromorphism and the Levinasian heteronomy. In its emphasis on becoming and change, heteromorphism, Caputo claims, puts forward the claim of liberation but cannot accommodate an obligation to the other: “In heteromorphism, the aim is freedom from inhibition and blockage, freedom from... the weight of values... from everything that weighs the will down....” By contrast, the Levinasian ethics of alterity gives priority to the obligation to the other, which calls the freedom of the subject into question: “freedom is suspect, suspended, held in question, because it is aggressive, self-accumulative, and eventually, finally murderous. Heteronomism wants the other to be free while one is oneself held hostage” [Caputo 60].In my discussion of the radical female imaginary I would like to show that Irigaray’s work refuses to align itself with either side of this divide. Originating in the very gap between liberation and responsibility, self and other, immanence and transcendence, freedom and obligation, the feminist ethics of sexual difference cannot disregard any of these claims. For Irigaray, the ethics of sexual difference has to enable different trajectories of gendered becomings without forgetting the obligation to the other. In fact, Irigaray argues that the responsibility to the other who differs sexually is the very source of such becomings. Irigaray’s ethics maintains neither the rigid separation between freedom and obligation, as is the case in Levinas’s work, nor their symmetrical reversibility, as is the case in Kant’s ethics. By contesting the oppositions between carnal passions and ethical obligations, between the respect for the other and the becoming of the self, Irigaray allows us to think through the disjunction between the two main ethical trajectories of postmodernism and to find the means to negotiate between them. In this essay I would like [End Page 60] to focus on two moments of such negotiation: the becoming of sexed bodies and the temporality of the female imaginary.One of Irigaray’s famous claims is the charge of the forgetting of sexed bodies in the discourses of philosophy, science, linguistics, and politics. Although this claim is certainly not new in feminist theory, what is original in Irigaray’s work is the diagnosis of the numerous symptoms of such forgetting, for instance, the relation she makes between the erasure of the sexed body and the nihilism of Western culture. For Irigaray, the forgetting of sexual difference manifests itself not only in the disregard for the specificity of feminine embodiment, desires, and genealogies but also in the disembodied character of linguistic analyses, in the erasure of the drama of enunciation evident in the privilege given to predication, in the separation of the subject of knowledge from carnality and desire, in the infatuation with formalism and with its obverse side, the crippling nostalgia for the maternal body, and, finally, in the rigid separation between the immanence of flesh and the transcendence of the spirit. 1 Even more striking is the originality of Irigaray’s intervention, which links the question of sexual difference with the temporality of the body.An important element of Irigaray’s ethics of sexual difference is the recovery of “that repressed entity, the female imaginary” [TS 28]. Despite numerous excellent discussions of the imaginary in Irigaray’s work, the complexity of her negotiations around this... (shrink)

The practice of Islamic veiling has over the last ten years emerged into a popular site of investigation. Different researchers have focused on the various significations of this bodily practice, both in its gendered dimensions, its identity components, its empowering potentials, as a satorial practice or as part of a broader economy of bodily practices which shape pious dispositions in accordance with the Islamic tradition. Lesser, however, has this been the case for the practice of not veiling or unveiling. If (...) and when attention is accorded to the latter, it is often grasped as a product of integration or an effect secular governmentality, but only rarely as a bodily practice. Drawing on narratives of second generation secular and religious Maghrebi Muslims in Belgium, this paper pursues this second perspective by examining to which extent not-veiling can be understood as a technique of the self (Foucault) that is functional to shaping a liberal (Musilm) subject. While a first part of this article will unpack the ethical substance of such discursive interrogations and point to the ways in which they are intertwined with the enactment of a liberal self, the second part will examine the embodied contours of this problematization, which appeared through the labour upon one's affect and bodily dispositions that this refusal of the hijab, or the act of unveiling, implies. (shrink)

The paper explores the notion of ‘the subject’ in the context of education as an alternative to more limited concepts such as the student or learner. Drawing on the thought of Cornelius Castoriadis, the subject under consideration is a conscious, self-reflective subject that organizes and modifies itself in relation to a world of significations. Through the capacity for conscious self-modification, the subject becomes a self-reflective agent in a socially instituted world of significations. For Castoriadis, this kind of (...) subjectivity is not readily available in every kind of social organization; rather, it is a possible product of a society that has instituted itself explicitly or autonomously. This socially instituted reflexivity is for Castoriadis historically associated with democracy, politics and philosophy. In the second part, the discussion is extended to the non-human realm and the world of the living being. Here, too, meaning—or proto-meaning in the case of the living being—is a constituent in the formation of a world. In this discussion, where Francisco Varela is an important source, concepts such as meaning, signification, normativity and purpose are introduced in the natural sciences, or rather, the sciences of human and non-human nature. The aim of the paper is twofold: on the one hand, to introduce pedagogical reflections into discussions about human on non-human nature; and, on the other, to develop a richer conceptual repertoire for exploring educational phenomena than what is immediately available. An important background, in both cases, is the possibility of ecological crisis, which poses new problems for educators. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 297-327 [Access article in PDF] Liberal Irony A Program for Rhetoric James P. McDaniel [Figures] Seeing like a state Perhaps these famous yet simple pictures display not so much the virtuosity of photography or photographers as they statically represent fragments of Mahatma Gandhi's theosophical and political dynamism, his uncanny blend of calm and charisma, thought and play. The compositions are technically simple yet thematically (...) rich. The great leader being led by a boy, the public figure reflecting quietly in private over news reports: these modest representations key awareness of the place of overturning in Gandhi's thought, words, and deeds. A man who encouraged non-violent resistance (ahimsa) to British Imperialists, Gandhi submitted his body to great harshness (himsa). A witness to incredible atrocities committed against his people, Gandhi exhorted his followers to present their bodies before armed imperialist soldiers with full knowledge that they would be brutalized, many killed. Legally prohibited from doing so, Gandhi made salt. Exhausted and hungry, Gandhi walked hundreds of kilometers without rest and fasted for long stretches of time. Hated and feared, Gandhi loved. Perpetually reversing the "logic" of the world he knew, overturning its values to find and clarify truer values, insisting that choices be made between the received and the [End Page 297] promised, the "is" and the "ought," the actual and the possible, Gandhi was an ironist.Each picture can also be seen as an allegory, or taken together as an allegorical complex of mutually illuminating signs, and Gandhi as a political allegorist of human relations for early twentieth-century India and the globe. Allegory's signature inscriptions are everywhere about these simple photos. Personification of virtue, a stock technique of allegorical composition, abounds: Humility becomes Gandhi. Each photograph personifies humility uniquely: sparseness of setting, simplicity of garb, and other visual cues for self-abasement adorn the one; richness of natural setting, playfulness, childlikeness, and such ornament the other. Both images suggest the presence of the eternal in the temporal, but in different ways, another key fixture of allegorical design: Gandhi's stillness sitting near his spinning wheel, itself an image of eternal circuitousness, in the one, and his vigorous exertion against a vast, seemingly static, natural landscape, both "frozen" in time thanks to the technology of photography, in the other. Likewise, time's flow seems in a sense reversed in a manner that mirrors symmetrical ontological reversals: the older follows the younger, the man the boy, and the wise follow the inexperienced. Further allegorical decoding could be endeavored, for instance rearticulating the two texts on four tiers of signification: literal, figural, historical, and anagogical—the "four-level" allegorical hermeneutic initially developed for application to sacred texts and later ascendant as a critical method from the Middle Ages to some versions of poststructuralism in recent years (e.g., Fredric Jameson's Political Unconscious, Frederick Dolan's Allegories of America,Paul de Man's Allegories of Reading). Each tier reveals a unique dimension of discourse: its textual surface (literal), its embedded significations (figural), its reflexive display of placement in time and society (historical), and its alignment with archetypal or ultimate patterns of existence (anagogical).As two approaches to the same texts, irony and allegory are more complementary than exclusive. Neither renders the other invalid or uninteresting, nor do they deplete their common rhetorical resources, yet each features distinctive fixations. The first perspective fixates on a single strategy reflected in the texts and explores the ramifications of that strategy: dialectical reversal. The second fastens on and traverses across myriad textures and patterns of discursive technique displayed in the texts: allegorical personification (e.g., Gandhi as humility), temporality (e.g., fusing of public, private, and eternal time), paratactic association of images (i.e., interplay between visual signs not necessarily regulated by a single code [End Page 298] of meaning), and cosmic ornamentation (e.g., the spinning wheel that, by the way, is not spinning; like Gandhi, it is sitting still in a world of tumult, as if mirroring a moment of individual and universal arrest). Ironic strategizing and inventorying, in this light... (shrink)

Cornelius Castoriadis understood history as a self-creating order. In turn, he elaborated history in two directions: as the political project of autonomy, and as the ontological modality of the social-historical. On his account, history as self-creation was only possible through the interplay of social (or political) imaginaries and social doing. Although social imaginaries are readily situated within the non-subjective field, non-subjective modes of doing have been less explored. Yet non-subjective contexts are integral to both the “doing” and “imaginary” (...) dimensions of the human condition, and form the preconditions for concrete varieties of social and political action and politics (as la politique), more generally. The present paper begins to clear a path to reflect on social doing in its non-subjective aspects; as such, it is preparatory rather than programmatic. After briefly reviewing the field of “social imaginaries”, it reflects on Castoriadis’s elaboration of “praxis” and “teukhein”. It then considers Johann Arnason’s culturological reconfiguration of Castoriadis’s approach, and Jan Patočka’s asubjective phenomenology of the movement of human existence as different ways of engaging with the problematic of doing, instituting society and political imaginaries. Despite a gradual subordination of “doing” to “signification” in Castoriadis’s philosophical elaborations, “social doing” as a non-subjective modality does not disappear altogether from his thought – especially and explicitly in respect to the phenomenon of instituting society as a political project – and remains a point of recurring intrusion into his more explicit theoretical concerns. (shrink)

The paper aims to complete the epistemological opposition of genesis and validity by discussing two types of their interconnection. On the one hand, it deals with genealogical arguments in the context of practical reasoning. This applies for positive justification (e.g. by tradition) as well as for negative delegitimisation (for instance Nietzsche's genealogical critique of morality). On the other hand, it is about the hermeneutic explication of signification. Historical reflection offers ways to understand the meaning of an institution, the (perhaps (...) hidden) signification of a thesis or a tradition. An informative paradigm thereof is the self-understanding of philosophy concerning its own issues and definition. (shrink)

The paper aims to complete the epistemological opposition of genesis and validity by discussing two types of their interconnection. On the one hand, it deals with genealogical arguments in the context of practical reasoning. This applies for positive justification (e.g. by tradition) as well as for negative delegitimisation (for instance Nietzsche’s genealogical critique of morality). On the other hand, it is about the hermeneutic explication of signification. Historical reflection offers ways to understand the meaning of an institution, the (perhaps (...) hidden) signification of a thesis or a tradition. An informative paradigm thereof is the self-understanding of philosophy concerning its own issues and definition. (shrink)

The cultural politics of Catholic restoration under Mary Tudor have been as crucial to the historical legacy of Thomas More as More's image was to the regime's own historical self-presentation. Not only did the Marian period see the first reappearance in print of many of More's writings after twenty years, the overwhelming presence of More's figure and work in official Catholic discourse, especially from 1556 onwards, also generated many instances of implicit Morean echoes pervading a great variety of Marian (...) literary texts and genres. This essay analyses a number of such hidden presences of More within classical translations of the period, from John Brende's History of Quintus Curtius, which was issued almost simultaneously with the 1553 Marian edition of More's Dialogue of Comfort, to George Colvile's Boethius and Nicholas Grimald's De officiis, whose appearance coincided with the preparation of More's English Workes for print. As it emerges, such implicit echoes and allusions to More's life and writings not only reshaped the classical works themselves, both updating them and enriching them with additional cultural and political significations; above all they helped to invest the program of Marian religious restoration with the credentials of classical learning promoted by the early Tudor humanists. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Skateboarding has been a hallmark of adolescent experience in suburban America ever since its beginning in the 1950s. Skateboarding has become an underground subculture, providing the youth population a novel outlet for self-expression and independence. Transworld Skateboarding magazine displays the ideological characteristic of the skateboard movement through their unique populist syntext, distinctive signification system, and extensive textual convergence. However, while expressing adolescent resistance against homogeneity, the magazine also reflects the influence of popular culture on skateboarders. This idiosyncrasy of (...) Transworld Skateboarding magazine reflects popular culture’s constant struggle between the need for hegemonic provision and resistance of mainstream conformity. (shrink)

RESUMO É cada vez mais sensível a grande profusão de distintas formas de narratividade biográfica na sociedade contemporânea. A partir do que apresentam pesquisas em diferentes campos dos estudos em linguagem, faz-se incontestável a heterogenericidade com que diversas formas de narração do eu em diferentes tons de autorreferência têm insurgido numa sociedade altamente midiatizada e globalizada. Nesse entrever, ancorados no edifício teórico da análise dialógica do discurso em confluência com estudos que se debruçam sobre as escritas de si, propomo-nos a (...) discutir a ressignificação como ato característico do movimento de autorreferência constitutivo da autobiografia e de algumas outras formas de narrativas do eu. Dentre outras observações, destacamos, na construção discursiva de textos autorreferentes, como a autobiografia, um entrecruzamento entre sentidos, memórias e vivências em uma relação de ressignificação sob a luz do que o sujeito não só foi como agora é. ABSTRACT The great profusion of different forms of biographical narrativity in contemporary society is increasingly sensitive. From what is presented by studies in different fields of language studies, the heterogeneity with which diverse forms of narration of the self in different tones of self-reference have emerged in a highly mediatized and globalized society becomes indisputable. Therefore, anchored in the theoretical propositions of the dialogic analysis of discourse along with studies that focus on life writings, we discuss re-signification as a characteristic act of the movement of self-reference, constitutive of autobiographies and some other forms of narratives of the self. Among other observations, we highlight in the discursive construction of self-referential texts, such as autobiography, a cross-linking between senses, memories and life experiences in their relation of re-signification in the light of what the subject not only was, but is now. (shrink)

The most recent version of the “linguistic turn,” the revolution in language theory shaped by Saussure’s structural linguistics and realized in a sweeping revision of investigations throughout the humanities and social sciences, has rushed past the most basic “fact”: that there is language. What has been lost? Almost everything of what Heidegger tried to approach under the name of “ontology” until the word proved too laden by common misapprehension to be of use. Most immediately, this is everything of language that (...) exceeds the order of signification, together with the subject’s engagement with this “excess” that is the (non)ground of history and the material site of all relationality, beginning with that unthought that is widely termed “culture.” Language and Relation returns to this site in close readings of meditations on language by Martin Heidegger, Luce Irigaray, Paul Celan, Walter Benjamin, and Maurice Blanchot. It seeks to move with these authors beyond the order of signification and toward the an-archic grounds of relation (of all relations between self and other, and of relation in general), exploring the possibility for a strong link between issues in modern philosophy of language and contemporary socio-political concerns. (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 tradition of Western philosophy has been tracing out the significations of logos and centered around logos. This in fact has given birth to many significant results. Through its logical structuring of empirical reality it has made possible critical understanding transcending the past and progressive creation of the future. But this Logology or Logocentrism has eventually also led to its self-destruction and to the brink of absolute nihilism.Along the history, logos has been interpreted in various ways. The history implies (...) that at least in the cosmic, theological and ideological frameworks logos used to be seen as extralinguistic substance; whereas starting from the scientific mode of thinking logos has been seen more as intralinguistic substance . This ends up in the political perspective in which logos is without substance: mere effects of the play of texts and discourse.While the latter appears like a predicament, the fact is that it can also be taken as a moment of liberation, a liberation from the keen yet stifling Western paradigm of logos apophanticos which has animated all kinds of “positivistic” mode of thinking; a liberation from the so-called Metaphysics of Presence, hence an openness towards the Absence, the ambiguity, the indefinability or the elusiveness of reality ; an openness towards the richness and complexity of human experience; hence an openness for mutual interogative and transformative dialogues among different semiotic systems, traditions and language games, which would also empower and incorporate non-Western as well as non-scientific mode of thinking into global discourse.Perhaps wisdom lies in the courage to recognize the fact that ultimately reality or the so-called Being is not a substance, but rather, fleeting relations, ever-changing networks, or elusive flux. Wisdom ultimately might mean an ability to come to terms with insecurity, an ability to see through the “absence”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.4 (2004) 317-334 [Access article in PDF] Speaking from the Bedrock of Ethics Spoma Jovanovic Department of Communication University of North Carolina, Greensboro Roy V. Wood Human Communication Studies University of Denver In a moment familiar to many of us, one of the authors of this piece attended a philosophical meeting on the topic of Emmanuel Levinas. "So, you are in communication studies," said a philosopher (...) during a break. "Why would a speech person be interested in Levinas?"This paper probes the place of speech in Levinasian ethics. We hope to show that when philosopher Emmanuel Levinas rested his compelling life project on ethics, he said something new about the act of speaking itself. First, for Levinas, speaking begins with the imperative issued by the presence or face of the other. He calls that issuance the saying. Antecedent to words, the saying is the commitment of an approach to the other, the move to response, the signifying of signification. Second, the saying moves into language where it is subordinated to the said. It is in the coordination of the saying and the said that ethics shows itself or is betrayed. Although the saying is perhaps overwhelmed by the said, it remains present even in absence. Third, for Levinas we can sense the ineffable, yet present, call to responsibility in the trace. The trace, and here Levinas brings God to mind, reveals the saying, and is communicated in the face.1 The face, the saying, and the trace are where the Levinasian responsibility of the one for the other takes form. They are the home of ethics.2By paying close attention to the responsibility invoked by the face, heeded in the saying, and reminisced in the trace, Levinas defines ethics as the condition of dialogue. Later, he says that ethics allows us to pursue peace even if, or after, dialogue fails. It is in ethics that we learn that we can stand by unsolvable problems—attentive and vigilant, in dialogue (Levinas 1999a).Taken together, these ideas of the face of the other, the saying, and the trace provide the basis of ethics that is constituted in and constitutes communication. [End Page 317]Our effort here is to explore the bedrock of ethics in speech. We will do so by drawing on examples of care, rescue, and sacrifice that surfaced during the tragedy of September 11, 2001, and the days that followed. Within the context of that terrible attack, scores of eyewitnesses gave accounts of the ways that people responded to the needs of others. We argue that the ethical imperative to respond conditions every rhetorical situation and that is no more clearly seen than in times of crisis. Recognizing this ethical imperative demands that scholars examine more than words and gestures. The act of speaking itself is for Levinas at the heart of human ethics. Through this philosophical lens communication ethics not only applies to rhetorical situations but also goes forth, or does not go forth, as communicative action itself. So ethics is at the bedrock of communication and communication is at the heart of ethics. In the end we will ask, "Why would a philosopher not be interested in speech?" Ethics in communication For Levinas, ethics is metaphysical.3 Ethics does not emanate from the self as an ontological dimension, or from some predetermined epistemological principles. Levinas instead claims that the other is the basis of ethics. In sociality, we find ourselves responsible to respond to the call of the other, not as an ontological choice but rather as the recognition that ethics is otherwise than being.4 The demand issued by the other is felt corporeally. It is, if you will, an ethical impulse or compulsion that disrupts, calling the self into a dialogical encounter.Levinas asks us to concentrate not on what we can know or contain of the "Other—the move toward totality, but to contemplate that which always exceeds our grasp—the move toward infinity.... Ethics is a relationship of responsibility for the Other. But this relationship is initiated by the Other, by... (shrink)

La connaissance de soi suppose que l'on puisse former des pensées vraies de la forme 'je Y que P', où 'Y' fait référence à une attitude propositionnelle, 'P' à son contenu, et 'je' au penseur de cette pensée. La question qui se pose est de savoir, ce qui, dans le contenu mental occurrent [P], justifie l'auto-attribution de cette pensée. Ce problème dit de la transition soulève trois difficultés ; celle de la préservation du contenu intentionnel entre la pensée de premier (...) et de second ordre ; celle de la reconnaissance de l'attitude ayant ce contenu intentionnel pour objet, et enfin la reconnaissance que ce qui est pensé l'est par le sujet qui pense. Le présent article se propose de montrer que la troisième difficulté résiste à une approche fondée sur l'expérience ou sur la signification cognitive de [P], et avance l'idée que la notion d'action mentale permet d'éclairer les conditions d'identité du penseur de [P] et du sujet de l'auto-attribution de l'attitude propositionnelle 'Y que P'.Self-knowledge requires the capacity to think true thoughts of the form 'I Y that P', where 'Y' refers to a propositional attitude, 'P' to a propositional content, and 'I' to the thinker of the thought of content P. The question that this requirement raises is to know what, in the occurrent mental content [P] , justifies the self-attribution of this thought. This problem, called the transition problem, includes three difficulties : how is intentional content stable across first- and second-order thoughts ? How is the attitude with this intentional content identified by the thinker ? And how is the thinker of the second-order thought able to claim truly that he himself is the thinker of the first-order thought ? The present paper's aim is to show that the third difficulty cannot be solved through an examination of the experience of having [P] or on the basis of the cognitive significance of P, and suggests that an analysis of mental actions in which propositional attitudes play a causal and feedback role give a better grasp on the conditions of identity of the thinker of [P] with the thinker of the propositional attitude 'Y that P'. (shrink)

Levinas n'est pas le premier ni le seul penseur à avoir eu le souci de décrire la subjectivité pour elle-même et à partir d'elle-même. Cette subjectivation, toujours à reprendre, Levinas l'aura envisager lui-même doublement, en deux lieux distincts, l'ontologie et l'éthique. L'ontologie dans la mesure où elle se propose de déduire la signification de l'étant subjectif dans l'être, l'éthique dans la mesure où elle pense l'unicité du moi à partir de la responsabilité pour autrui. L'ontologie et l'éthique sont, pour (...) Levinas, deux figures de l'egologie, elles décrivent deux manières d'être soi. Pour le comprendre l'auteur rétablit les rapports souvent oubliés entre Levinas et Husserl, Heidegger, Sartre, Merleau-Ponty et Henry. (shrink)

On peut comprendre l'idée hégélienne d'un esprit objectif comme celle d'une conception sociologique du langage et de l'esprit. Elle consiste à fonder le fait de la vie mentale sur la participation à des pratiques communes gouvernées par des règles sociales et par des institutions. Taylor, lorsqu'il montre comment la communication suppose des significations communes, propose une philosophie de l'esprit objectif. Une telle philosophie semble incompatible avec une autre idée défendue par Taylor: la définition herméneutique de l'homme comme l'animal qui s'interprète (...) lui-même. Dans sa réponse, Taylor souligne la différence entre une simple convergence dans le comportement des individus et une action effectivement commune. Il admet qu'on ne saurait confondre, par exemple, le fait de « devenir un ermite » et celui de « s'interpréter soi-même comme si l'on était un ermite ». Néanmoins, il maintient qu'on doit pouvoir parler d'une capacité humaine à se comprendre soi-même dans des termes correspondant aux possibilités fondamentales d'une existence humaine. The Hegelian idea of there being an objective spirit can be construed as a social theory of language and mind. According to this theory, to have a mental life requires participating into common practices governed by social rules and institutions. Taylor holds such a view when he points out that there would be no communication whitout common meanings (i.e. without an « objective spirit »). However, this social conception of mind seems to conflict with another of Taylor's views: the hermeneutic definition of men as « self-interpreting animals ». In his reply, Taylor stresses the difference between a mere convergence in behaviour and the commonality of common action. He agrees that one should not reduce e.g. « becoming a hermit » to « interpreting oneself as a hermit ». There is, however, such a thing as defining oneself or understanding oneself in terms of human nodal potentialities. (shrink)

Merleau-Ponty and Derrida articulate two overlaping but divergent ways of thinking about differentiation, écart and différance. This volume represents the viewpoints of fifteen leading North American scholars working in the fields of Continental philosophy, phenomenology, and postmodernism. These scholars, in essays written expressly for this volume, address the matrix of thought underlying contemporary responses to postmodernsim at large and deconstructionism in particular: identity and difference, community and alterity, self and other, metaphysics and its closure, language and its beyond, (...) class='Hi'>signification and referentiality. (shrink)

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical (...) impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)