Hermeneutic rationality arises from the idea that experience is a cumulative process, in which differences are not eliminated but preserved. The universality which derives from this process is an “intensional universality”, which follows a law of direct proportionality between extension and intension: the more an educated individual enriches her experiences, the more she is able to universalize her understanding of others. Experience is then inevitably open and never closed, that is, free for other experiences. If we use the word “domain” (...) to describe the condition of a closed and predetermined system or ontology, the entities of which are pre-assumed, we can therefore call this open universality a “universality without domain”.This description of hermeneutical experience leads to a question about its logical and ontological presuppositions. In the second part of the paper I refer to a particular practice which is central for hermeneutical theory in order to show how I understand these presuppositions: the practice of translation. In translation we experience the impossibility of rendering completely the sense of the source language in a target language, that is, we experience a difference which cannot be suppressed. I compare this experience to the discovery of the incommensurable magnitudes in ancient Greek mathematics, a discovery that shook Parmenidean and Pythagorean ontology: in my opinion, philosophical hermeneutics more or less implicitly develops the consequences of this incredible discovery, which marks the passage to a differential, comparative and integrative rationality and ontology. (shrink)

This article investigates the politics of translation at work in contemporary theories of secularism. It turns to the thought of Jacques Derrida in order to challenge liberal and more critical perspectives. Without a complex analysis of translation and its ethico-political effects, the revisitation of secularism remains deficient, leaving the liberal politics of translation exclusionary and that of their critics ineffective. Pointing to the resources Derrida offers for a deeper understanding of the nature, political stakes, and implications of translation, this article (...) illuminates an understudied and yet crucial dimension of the relationship between religion and politics, and more generally of public life. (shrink)

Investigates, through a critical exploration of Derrida's political thought, the foundations of modern secular discourse in relation to issues of race and colonialism.

Responding to doubts expressed by contributors to the Common Knowledge symposium on xenophilia, this introduction to the seventh and final installment seeks to explain the critics’ methodological concerns in a case study of strong affect in the Babylonian Talmud. Examining the story of Rav Rehumi and his wife in Ketubot 62b, the author inquires whether differences of culture and the passage of time make it impossible for us to determine whether love is the affect involved. The case is especially difficult (...) to resolve, given that, while there may be two lovers in this narrative, there may be three objects of love: the rabbi, his wife, and the Torah. In the story, Rav Rehumi is so ravished by Torah that he forgets his wife. Since the narrative does not predicate that he chose not to visit her but, rather, that he was swept away, the author proposes that “studying Torah is sex, not like sex, but sex itself.” The story describes not sublimation of libido but its desublimation. If so, the story confronts us with an unnamed affect in ancient Jewish culture that “encompasses both the joy of sex and the joy of text.” It is not that, dourly, the Talmudic Rabbis cannot imagine, or that they ignore, corporeal pleasure; it is rather that the erotic experience of Torah is the same pleasure but, at least for them, even stronger. This piece concludes, therefore, that a term like xenophilia, which incorporates the word love, is not universally applicable across cultures and epistemai. The concept of love is too various. (shrink)

The complicated issues surrounding translation studies have seen growing attention in recent years from scholars and academics that want to make it a discipline and not a minor branch of another field, such as linguistics or comparative literature. Writ large with Antigonick, Carson showcases the recent Western push towards translation studies in the American academy. By offering up a text that is chaotic in its presentation, she bypasses the rigid idea of univocality. By giving the text discordant images, she betrays (...) the failed efficacy of sign and signification, and by choosing a text to be performed and mutually participated in, she exceeds ideas of the individual subject as the site of authorship. Ultimately, Carson enacts a theory of translation that critically deconstructs translation itself. (shrink)

While the concept of secularization is traditionally used to define the nature of modern culture, and sometimes to uncover the theological origins of secular modernity, its validity is being questioned ever more radically today. Genealogies of the Secular returns to the historical, intellectual, and philosophical roots of this concept in the twentieth-century German debates on religion and modernity, and presents a wide range of strategies that German thinkers have applied to apprehend the connection between religion and secularism. In fundamentally heterogeneous (...) ways, these strategies all developed "genealogies of the secular" by tracing modern phenomena back to their religious or theological roots. This book aims to disclose the complex prehistory of the contemporary debates on political theology and postsecularism, and to show how prominent thinkers continue this German tradition today. It explores and assesses the classic theories of secularization that are epitomized in Carl Schmitt's writings on political theology, but also addresses German philosophers whose work has been rarely associated with secularization, including Walter Benjamin, Ernst Cassirer, Martin Heidegger, Immanuel Kant, and Hannah Arendt. Attention is also paid to two thinkers whose role in these discourses has not been fully explored yet: Jacob Taubes and Jan Assmann. By introducing their thinking on religion, politics, and secularization, the book also makes two of their own key texts available to an English-language readership. (shrink)

Together with original readings of some of Benjamin’s finest essays, this book examines a series of Borges’s works as allegories of Argentine modernity.

Reevaluates Western and Chinese philosophical traditions to question the boundaries of entrenched conceptual frameworks.

Philosophical thinking is interrupted by the finitude of what cannot be named, on the one hand, and that within which it is subsumed as one of multiple modes of sense-making, on the other. Sense and Singularity elaborates Jean-Luc Nancy’s philosophical project as an inquiry into the limits or finitude of philosophy itself, where it is interrupted, and as a practice of critical intervention where philosophy serves to interrupt otherwise unquestioned ways of thinking. Nancy’s interruption of philosophy, Van Den Abbeele argues, (...) reveals the limits of what philosophy is and what it can do, its apocalyptic end and its endless renewal, its Sisyphean interruption between the bounds of infinitely replicating sense and the conceptual vanishing point that is singularity. In examinations of Nancy’s foundational rereading of Descartes's cogito as iterative, his formal experimentations with the genres of philosophical writing, the account of “retreat” in understanding the political, and the interruptive play of sense and singularity in writings on the body, sexuality, and aesthetics, Van Den Abbeele offers a fresh account of one of our major thinkers as well as a provocative inquiry into what philosophy can do. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Is it ever ethical to translate? In other words – But already, as though it refused to await any decision concerning its relation to the ethical, translation of a kind is taking place here. For one...

This article is a close reading of Józef Tischner's Historia filozofii po góralsku [History of Philosophy in Góral], considered alongside Barbara Cassin's Vocabulaire européen des philosophies [European Vocabulary of Philosophies] and in the context of European unification. Written in the Góral dialect of Polish and recounting the history of philosophy as if it belonged to Górals, Tischner's book re-imagines Europe as a space of reciprocity, equality, and freedom. This gesture is inseparable from the mode of as if, a mode that (...) translation, literature, reading, and the future anterior tense all hold in common. (shrink)

Our actions, even the quietest, are liable to become occasions for inculpation. But what kind of action would remain immune to the act of judgement? Such an action is made manifest in Michelangelo’s Moses. Freud’s cinematic reading of the sculpture yields a concern with what Moses does not do. Neither the origin nor the outcome of an action proves decisive but rather “the remains of a movement that has already taken place.” Such a remainder troubles the ascription of agency to (...) action by undermining the fantasy of homogenous time which underlies it. Continuity is revealed as the semblance of an imperceptible series of temporal omissions. The paper aims not only to bring to light the radical potential harboured in Freud’s approach to the Moses but to account for the reason he arrests its appearance. (shrink)

In this article, I will discuss the idea of teachers as knowledge translators, not in a pedagogical or didactical sense, but in a “professional” one. A professional practice is supposed to be theoretically informed by academic research. In the name of effectiveness and efficiency, current policies in teaching and higher education repeatedly ask for research-based practices that legitimize the adoption of an instrumental view of knowledge. Knowledge is conceived of as detached from the context in which it was produced and (...) becomes a commodity that can be mobilized by the researcher or the teacher at any time, as if language is a direct and transparent vehicle of thought. But this idea fails to recognize that language endlessly translates and produces new meanings, which imply that “knowledge users” have a responsibility with regard to the meaning they give to the research, policy documents or professional accounts they are “mobilizing” for practice. Here, I will discuss this translation framework, using fruitful ideas developed in the field of translation studies. Then the framework is put to work through the analysis of concrete, and somewhat unfortunate, translations that Donald Schön’s influential work on reflective practice has undergone. These observations lead to an exploration of some concrete implications of an ethic of translation, which would require fostering some translational dispositions in teachers and the creation of translational spaces for teachers’ “professional development”. (shrink)

Krishnachandra Bhattacharyya’s improvisations, or rather his interpretation as improvisation, inspires my own improvisation on Milan Kundera’s 1996 novel Slowness. Not only do I attempt to improvise, or to “interfere creatively” in Kundera’s work, but moreover, I argue that this is exactly how he himself works in Slowness with Vivant Denon’s 1777 novella No Tomorrow. Reading Kundera, as I do here, with and through Indian theory, from the 7th or 8th century poet Rājaśekhara to contemporary thinkers such as Bhattacharyya, Daya Krishna, (...) Mukund Lath and others, is not a standard move. However, it enables me to contemplate “in action” about the possibilities and impossibilities of a cross-cultural dialogue, as a potent tool of interpretation. (shrink)

The employment of digital technology in recent instances of artwork replication raises important questions about the perceptual and ontological distinction between original and copy, for the latter is purported to be even more authentic than an original that has undergone alterations. Such instances challenge not only Benjamin’s claim about the loss of aura but also Goodman’s distinction between autographic and allographic arts. The article proposes to rethink the original/copy dualism from the perspective of the cult image. In the devotional traditions (...) of Graeco-Roman polytheism as well as Christianity and Buddhism, cult images are approached not as representations, but as animated entities endowed with thaumaturgic powers that can be ritually transferred onto copies. From this perspective, replication is not about reproducing more or less faithfully the original, but engendering a double as effective as the original. Finally, the bearing of this perspective on contemporary works of art is considered. (shrink)

The Anger of Achilles, Robert Graves’ 1959 translation of Homer’s Iliad, has been variously dismissed by classical scholars as an ‘outrageous sortie into the field of translation’ and a work of ‘sheer egotism’, marred by its author’s ‘scattered yapping’. And yet, it can be read with greater understanding if we approach it not merely as a literary anomaly, but as a refraction of Graves’ experience of ‘Shell Shock,’ or PTSD, following his front line service during the First World War. This (...) paper proposes that the act of translation can itself be cathartic, creating a formalized textual space in which the translation of traumatic memory into narrative memory becomes viable, and that Graves used Homer’s epic as a tool to access his own occluded, traumatic past. By comparing The Anger of Achilles to R. Lattimore’s relatively literal translation of the Iliad, it will illuminate the ways in which the former is deeply rooted in Graves’s experience of combat, his ensuing neurasthenia, and the personal Myth by which he made sense of both – the matriarchal mythopoetics of The White Goddess. (shrink)

This paper seeks an urban poetics under the pressures of flux, polyglot babble and the rise of technoculture. In so doing it traces the intertwinements of aesthetics and politics as they manifest over the last 150 years. Charles Baudelaire’s poetry is characterised as a delirious response to the delirium of capitalist modernity, in which ‘words rise up’, as he puts it, but it is a also a barometer, which measures the degrees of entwinement of aesthetics and revolutionary politics in the (...) subsequent years, for one in Walter Benjamin’s interpretation in the 1930s and in the wild translations of the poet by Sean Bonney in 2008 in the collection ‘Baudelaire in English’. (shrink)

By placing Butler’s Parting Ways: Jewishness and the Critique of Zionism (2012) in counterpoint with Said’s After the Last Sky: Palestinian Lives (1986), this essay aims to shed new light on Butler’s political and ethical writing, revealing, in particular, the ways in which a politics of cohabitation is inseparable from the process of translation. Both Butler and Said articulate the difficult yet necessary task of establishing a just cohabitation through the translation between two histories of exile, Jewish and Palestinian. Firstly, (...) I examine Butler’s efforts to derive a principle of cohabitation from the Jewish history of diaspora, arguing that it should be understood as a response to Said’s reflections on Jewishness in Freud and the Non-European. I then seek to illuminate how statelessness structures the interplay of text and image in After the Last Sky, arguing that exilic tension provides the framework for Said’s rethinking of comparativism. (shrink)

Long considered to be an impenetrable, hermetic treatise, Walter Benjamin's The Origin of German Tragic Drama has rarely received the attention it deserves as a key text, central to a full understanding of his work. In this critically acclaimed study, distinguished Benjamin scholar Beatrice Hanssen unlocks the philosophical and ethical dimensions of his thought with great clarity and sophisitication.

The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the ‘apocalyptic discourses of today’s cultural climate’ Jacques Rancière describes in The future of the image. Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in documentaries, (...) ‘very much alive’ to her, with outsiders’ selective collecting of those images ; linking with Natalie Robertson’s tracing of takiaho, by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg’s notion of Nachleben – the ‘survival’, ‘continuity’ and ‘metamorphosis’ of images and motifs, and finally engage Mitchell’s consideration of a road not taken by Rancière in contemplating The future of the image. The paper explores a range of experiences, actions, reflections and emotions bundled in the terms appropriation and iconicity: from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building in the latter. By bringing Māori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging. (shrink)

This paper examines the relevance of Rosenzweig’s theory of translation to his concept of redemption. Rosenzweig’s statements on the redemptive virtues of translation, in the afterword to his Jehuda Halevi and in “Scripture and Luther,” are well known. However, when considered in connection with the Star of Redemption as well as with the later essays, Rosenzweig’s position appears more complex than what a first reading might suggest, for he seemed to have abandoned his first definition of translation – as an (...) imperfectly redemptive task, nevertheless providing effective understanding between the peoples – to adopt the notion of a true redemption of the tongues, be it at the expense of understanding. In what sense is translation, if at all legitimately, bound to Redemption? The paper argues that the concept of the spirit (Geist) is central to Rosenzweig’s theory of translation, and examines the metamorphoses of this concept from the Star to the later essays. It accounts for the fact that language, in a certain sense, is the true subject of redemption, and allows for new insights into the philosophy of history. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

The notorious French philosopher, literary critic and film star First translated in 1983, Dissemination contains three of Derrida's most central and seminal works: 'Plato's Pharmacy', 'The Double Session' and 'Dissemination'. The essays provide original readings of philosophy and literature, and present a re-evaluation of the logic of meaning and the function of writing in Western discourse. This is a groundbreaking work on the relationship and interplay between language, literature and philosophy.

My thesis reads Ernst Bloch’s materialist ontology with the aim of producing a utopian perspective on language’s materiality. As my Introduction outlines, set against the backdrop of a contemporary renewal in speculative philosophy, the present context is marked by a twofold limitation: (1) the perdurant marginalisation of Bloch’s form of utopian speculation, serving to couch contemporary materialism in thoroughly un-prospective tendencies; and (2), a relative failure of contemporary speculative philosophy to reflect on language, a failure attributable to the long drawn-out (...) dominance of post-structuralism’s linguistic form of relativism. To overcome these limitations I dedicate Chapter I of my thesis to expounding the core categories of Bloch’s materialism, casting a light on what I call its fundamental compositional structure: Incompleteness → Process → (possibility of an) Outfall, i.e. completion or arrival. In light of this, I argue that, placed within the horizon of Bloch’s materialism, incompleteness, process, and futural-directedness ought to be taken as cornerstones of language’s materiality. So as to better position what this means, in Chapter II a reading of the metaphysical Sens of Bloch’s materialism is given. There I consider Bloch’s materialism as a novel form of analogic metaphysics. Insofar as at the core of Bloch’s materialism there lies a metaphysical conception whereby being as such (e.g. Aristotle’s ontōs on) names an ultimate desire and not—pace the classical metaphysical tradition—an already existent beingness—a metaphysical conception Bloch proleptically terms the “ontology of not-yet being“—so then the essential dynamic of this materialism hinges on an incomplete analogy, for all things relate to that which is not-yet in existence; this not-yetness is the sustaining meaning of what is. In the final chapter I concretise my findings by turning to the question of language proper, reading “anacoluthon” as a speculative materialist figure of language which expressive this utopian analogic metaphysics. Anacoluthon denotes an interruption in syntactical flow (Greek: an-akóluthos, “not following“; German: Satzbruch, “sentence fracture/rupture“) and marginally features in Bloch’s corpus. But precisely because of its marginal status the figure possesses a real force in understanding language’s utopian materiality. Indeed, I read anacoluthia as expressive of the Blochian ontological composition. Anacoluthic discontinuities of speech are read as linguistic expressions of ontological incompleteness, ontological novelty, and ontological directedness to what is not yet. They linguistically express both the non-existence of ontological totality, but also, crucially, a real and open intending towards it: a utopian, creative, linguistically-based transgressiveness expressive of the world’s ontology. (shrink)

Conventionally understood as the interface between us and the ‘out there’, this article proposes that there is an urgent need to write philosophy of language from a perspective which can account for the new ontologies of language being promoted by its increasingly non-human, digital, disembodied applications and ‘realities’. The work starts with a question: what is language when it is no longer made by humans, but by a machine? Employing Heinz von Foerster’s distinction between ‘Non-Trivial’ and ‘Trivial’, Machines, which describes (...) machinic processes involving agency and those which do not, this practice and theory based research explores that question. (shrink)

This thesis argues for the significance of G.W Leibniz’s concepts of ‘expression’, ‘force’ and ‘perspective’ to the writings of Walter Benjamin and Gilles Deleuze. By triangulating the philosophical projects of Benjamin, Deleuze and Leibniz, as has not yet been done, the thesis opens up new perspectives and provides new readings of all three. Designating a structure of relations in which every simple substance or monad serves as a ‘living mirror’ of the universe, Leibniz’s concept of ‘expression’ denotes virtual inclusion or (...) immanence. His concept of ‘force’ denotes the self-incurred drive that motivates the monad to action, while his ‘perspectivism’ defines the monads individuality through their infinite points of view on the world. Deleuze and Benjamin, I suggest, appropriate Leibniz’s concepts as part of their respective critiques of epistemology, which target Kant’s conception of experience as a hierarchic relation of representation, allowing them to redefine experience as non-hierarchal, de-centred and embodied. At the same time, for both, Leibniz’s philosophy serves to criticize historicist views of chronological time. Leibniz’s perspectivism is reformulated by Deleuze and Benjamin as part of their respective critical theories of the image, culminating in their later formulations of the ‘dialectical’ and ‘crystal’ image, respectively. The conclusion however, highlights the diverging paths formed by their returns to Leibniz. Benjamin develops a politically effective ‘historical perspectivism’ in which the discontinuity of history enables ‘true historical time’ to replace chronological time. Deleuze, on the other hand, opts for an ahistorical pure form of temporality, his ‘mannerist perspectivism’ describing a continuous, perpetually repeated ‘becoming’. (shrink)

This dissertation critically engages the meaning and scope of the category of the ‘essay film’; a term that has gained increasing currency in recent decades in film studies and contemporary art to group a diverse array of moving-image works. Departing from recent literature on the essay film, the essay, as I argue, should be conceived less as a stable generic category, than as a dynamic form and experimental mode of writing and filmmaking, which employs and cuts across diverse literary, cinematic (...) and televisual genres and sub-genres, and which is historically subject to critical transformation as it encounters new social, technological and cultural forms and mediums. The introduction provides a critical survey of some of the leading proponents of the essay film, and outlines a working definition of the essay as a literary and cinematographic form. Chapter 1 examines the history of the essay and criticism as a literary and philosophical form, focusing on the essayistic and critical writings of Michel de Montaigne, the early German Romantics, Walter Benjamin, Theodor W. Adorno and Roland Barthes. Central to the critical and experimental nature of the essay, as the chapter underlines, is the deployment of various indirect, allegorical, and modernist rhetorical and poetic strategies and devices – such as citation, irony, fragmentation, and parataxis – which attempt to engage the reader in the text’s reflective process through the constellation of enigmatic and disjunct moments and perspectives. Chapter 2 explores the emergence of various essayistic forms in the Soviet avant-garde in the 1920s, relating debates around the privileging of literary and photographic documentary montage practices in Soviet Factography to Esfir Shub’s historical compilation films, Dziga Vertov’s experimental newsreels, and Sergei Eisenstein’s project to make a plotless film-essay based on Karl Marx’s Capital. Chapter 3 focuses on Jean-Luc Godard’s film and video essays – from Camera Eye to Histoire du cinéma – delineating the crucial shifts in Godard’s various attempts to present a critical discourse on cinema and the media through the montage of image and sound. Chapter 4 investigates the essay films, archival video essays, and essayistic video installations of Harun Farocki, attending to how his works endeavour to render the ciphered social life of images and the historical transformations in technologies and techniques of seeing and imaging available for critical interpretation. Central to my account of the essay as a literary, cinematographic, and videographic form is the question of compilation; namely, how knowledge and history is archived and assembled through the juxtaposition and critical weighing of disparate citations and images. Paramount in relation to Godard and Farocki, as I underscore, is their respective shifts to working with video technology, which afforded both filmmakers the capacity to more freely combine and analyze images from divergent media sources, as well as to devise novel forms of videographic montage based on the construction of historical correspondences between audio-visual elements. I conclude the dissertation with a consideration of the impact of digital technology on contemporary essayistic audio-visual practices, and how issues raised in the preceding chapters – around audio-visual criticism, the spatialization of montage in moving-image installation work, and documentary and archival film practices – have been affected by such technological and cultural shifts. (shrink)

This work aims to look into the question of authenticity and inauthenticity within the Muslim discourse. How muslim can Muslims really be? Within the Muslim world the concept of authenticity is usually coupled with questions of adherence to the canonical and historical. Despite the fact that the Qur’an addresses the individual in a very direct manner, little emphasis seems to be focused on personal authenticity within contemporary Muslim circles. Muslim societies are understood to be communally based with less emphasis on (...) the individual and yet inner searching has been very much a part of Muslim culture though this may now have shifted significantly in engaging with, what is argued here, as the increasing mundanization and rationalist approaches to religion generally and specifically to Islam. This work sets out to explore what, if any, inauthenticities have arisen within the Muslim discourse that might have given rise to this. In attempting to think through these questions, various contemporary manifestations of global management culture are explored, the development of rationality within Muslim intellectual history and contemporary theological positions within Islam are brought up for examination. Throughout these enquiries any resulting connection with inauthenticity and rationalism is sought out. Has this management paradigm reached the religious sphere? Has there been a McDonaldization of Islam? How can these be effectively countered? Much of the analysis and discussion that takes place is through a dialectical perspective between classical Islamic and existentialist thought. One of main aims of this research is to demonstrate ways of thinking through to potential personal authenticity despite the obstacles mentioned. (shrink)

The following thesis develops the idea of 'constructive destruction' in close readings of selected texts by Soren Kierkegaard, Theodor W. Adorno, Franz Kafka, Gershom Scholem and Philip Roth. 1. The focus on the study is on 'suffering' and 'constructive destruction' in the 'modern' period, which means that 'suffering' is being understood primarily as internal - existential suffering. 2. Kierkegaard's "The Sickness unto Death" is a typical example of this very kind of suffering. Kierkegaard's theoretical treatise of suffering in this writing (...) is problematic, though I argue that a close inspection of his literary strategy of pseudonymity allows for a more positive evaluation of his contribution. 3. The reading of Adorno's reading of Kierkegaard introduces the idea of constructive destruction, for Adorno has attempted to wring the positive out of the collapse of Kierkegaard's 'system'. 4. Kafka's aphorisms are the source of the term 'constructive destruction'. They were written in a time of severe crisis, and they develop this idea particularly in reflections about the im/possibility of dying. Kafka's work was related to philosophical and religious ideas of constructive destruction by Maurice Blanchot and, more extensively, by Gershom Scholem: Scholem sees Kafka's work as a contemporary form of heretical Kabbalah, for which Sabbatianisms is a prime example; Sabbatianism, again, enacts constructive destruction. 5. Philip Roth's novel "Sabbath's Theatre" may or may not play with the name of founder of this Jewish sect. Either way it can be read as a contemporary reflection of the logic of constructive destruction as response to suffering. 6. My selection of texts and my method of reading are unconventional but not random. The method is located at the crossroad of philosophy of religion and literature and inspired by what I call differential analogy. The result of my reading is not a recipe for the overcoming of suffering; rather, I provide models for meaningful responses to suffering that can inspire our perceptions of the conflicts that we may face in one way or another. (shrink)

This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.

Thesis (Ph.D.) - La Trobe University, 2010.

The purpose of the thesis is to consider travel relations with regard to their onto-phenomenological and semantic of possibility and to raise the question of a possible ethics of travel. In turning the notion of travel back upon its signifying conditions, a connection is established with the notion of metaphor. The metaphysical polarity between proper and metaphorical meaning is furthered onto a problematic of the couple Oikos (house, home in Greek and generally everything that constitutes a sense of the-at-home) and (...) travel with the purpose of complicating their mutual determination and to deconstructively challenge the derivational and recuperative logic that permeates their intra-metaphysical designation. The reconsideration of the conceptual presuppositions of “travel” is carried out through the critique of what is called its hermeneutic premise, formulated here largely drawing on Paul Ricoeur. It is maintained that “travel” in its Western European conceputalisation participates in the traditions of the metaphysics if presence and logocentrism and it is on this level that deconstructive thinking takes effect. Questions related to the theme of travel, such as space, time, boundary, itinerary, event, encounter, as well as to travel writing, such as generic delimination, representation, constative reference and performative engagement, testimonial value, and the antinomy of fact and fiction, are addressed and relocated through the preoccupation with their phenomenological and tropological motifs and in particular with their generalised metaphorical and allegorical conditions, as these are designated by Jacques Derrida and Paul de Man, respectively. The association of the notion of travel with metaphor, and, by extension, that between Oikos and properness, will show that senses of home and away, rather than being pregiven, emerge from a scriptural condition - a structural of difference and deferral- that interrupts their reductive, totalising, monistic formulations as well as dialectical conceptualisations. (shrink)

The Swiss writer Conrad Ferdinand Meyer had two languages at his disposal, German and French. He hesitated, but in the end he opted to write in German. His decision was deeply affected by the outcome of the French-German war of 1870, which led to the unification of Germany. Contemporary Swiss writers do no longer have to grapple with such heartbreaking decisions. Quite the opposite is the case. In the last few decades, new forms of translingual writing have come into being. (...) They have created a dense dialogical net across the country linking the four linguistic regions with each other. In this paper I would like to discuss two significant examples of this new form of translingual literature. Pierre Lepori combines Italian and French and Beat Christen writes in German and French. (shrink)

Drawing inspiration from Vilém Flusser’s writings on translation and on city space, this paper locates language and translation as material elements of city life. I begin by outlining the ways in which language is implicated in the form and operations of cities. I extend this discussion to the metaphorics of translation employed by Marshall McLuhan in building his theory of media and the global village, and Jacques Derrida’s approach to translation and linguistic variability. These positions allow us to consider the (...) implications of computer technology for universal language and machine translation, each of which have been wrapped up in discourses about the city. I finally connect this discussion to Flusser’s writings on the city and his concept of the telematic society, which will have profound implications for the future of the city. (shrink)

This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space’ between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation’. It summarises the first attempts to think of translation as an almost ‘holistic’ paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin’s master (...) narrative, the utopia of ‘pure language’, encourages continuous resistance to the totalitarianism of the idea of the ‘original’, to aesthetics and to dominant discourses. It subsequently defines the idea of ‘progress’, which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro’s poetic cycle, O Guardador de Rebanhos. (shrink)