ABSTRACTAs a contribution to comparative East-West poetics, this essay descries a common resource of Western and classical Chinese literatures in certain “apophatic” modes of thought and discourse that are oriented to what cannot be said, to what is manifest only in and through a certain evasion and defiance of all efforts to verbalize and conceptualize it. This argument is developed in critical counterpoint with the work of interpreting Chinese classical poetry and thought by the French philosopher and sinologist François Jullien. (...) Jullien acutely apprehends and elegantly expounds the deeply apophatic bent of Chinese poetics. However, he sets Chinese thought and poetry categorically apart from Western approaches, whereas my analysis brings them together under the aegis of their common inspiration from the experience of the limits of language vis-à-vis an unspeakable origin of thinking and its source in reality. (shrink)

This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics following Heidegger, (...) including Blanchot’s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ‘world’ in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling. (shrink)

This work tries to show that the metapoetic meditation developed by Ramos Rosa throughout his very extensive poetic work not only did not condemn his poetry to a cold cloister in the textual plane, but also contributed decisively to the opening to the real, to the effect of evidence and to the sense of communion that would become increasingly sensitive in his writing. To this end, we propose to clarify the thread that, under the aegis of the poetic lucidity consecrated (...) by the author, leads us from his metapoetic meditation to a poetic meditation of an ontophenomenological and sapiential nature, that is, from his metapoetry to a poetry whose wisdom provides a set of intuitions with a sapiential and philosophical accent. It is our intention to contribute, in this way, to the understanding of the (cognitive and ontological) demand and scope of Rosa’s poetic path, as well as, collaterally, to the debate around topics such as poetic (self-)reference, the ontological status of the poetic text or the philosophy-literature relationship. (shrink)

How to be being to be being/ next to the united and firm/ and trembling/ mouth of the poem?”, “How to say what is clearer than clarity [...]?” or “How to unite a light design and an obscure gesture?” These questions, as well as many others that emerge from the poetic and essay writing of António Ramos Rosa (1924-2013), represent different modulations of the same angular question: that of the relation between poem and reality, or, more radically, between poem and (...) being. And if such a question spreads into so many formulations it is because, in António Ramos Rosa, its scope is total, simultaneously aesthetic and ontological, metaphysical and spiritual. It is, therefore, this question that we will try to answer by looking into one of its possible faces: how can poetic creation be at the same time the most intimate gesture and the one that touches most deeply the undomesticated matter of the real, that absolute and unapprehensible Other? (shrink)

Following Foucault, ‘critique’ could be regarded as being the art not to be governed in this way or as a project of desubjectivation. In this paper it is shown how such a project could be described as an e‐ducative practice. It explores this idea through an example which Foucault himself gave of such a critical practice: the writing of ‘experience books’. Thus it appears that such an e‐ducative practice is a ‘dangerous’, public and uncomfortable practice that is not in need (...) of pastoral care but requires generosity, presence and attention. As such it demands a pedagogy of experience which is to be invented in order to ‘make’ oneself into a question, to transgress the limits of a governmental regime. (shrink)

The purpose of this article is to analyze the connections of spatial relations and settings with narrative, and the presentation of these relations in Jüri Ehlvest’s texts. Distinctions are made between textual space (as designation, description, or rhetorical presentation) and fictional space (the space in which narrative action takes place and the site of the denouement of events). Fictional space can be expressed as textual space in one of the four following ways: (a) perceived space (b) experienced space (c) logical (...) space (d) alogical space. The multilayeredness of Ehlvest’s texts, their fragmentariness and dislocated reality, entail a complicated reception. In contrast, however, the geographical space represented in the texts is generally quite clear and accessible, with the effect of seeming real and humanly possible. Indeed, specific spatial elements are one of the sources of the verisimilitude and plausibility of Ehlvest’s texts. For the most part, the place where ehlvestian narrative plays itself out is a clear topographical environment, usually an interior; the textual representation of spaces is minimalist, avoiding descriptions, and with practically no impression of movement. In addition to representation of places, rooms, houses, and open space using ordinary, direct, (yet very minimalist) means, several more indirect strategies of creating space can be found in Ehlvest’s texts. This article calls attention to some characteristic devices from this indirect repertoire, grouping them as follows: things; window and picture; repetition, fragment, and mirror; body and emptiness. Of the four types of textual space mentioned above, the one most characteristic of Ehlvest’s stories is experienced space, which could also be described as haptic space of experience. However, due to the fragmentariness and bricolage typical of Ehlvest, there are certainly also plenty of examples of the other types, particularly perceived and alogical space. Many transformations can be noted when comparing Ehlvest’s earlier and later texts. First, many earlier images disappear (tree, mill, bridge). Second, the first-person protagonist’s bodily experience becomes more important (eating, illness, pain). Third, the borders between consciousness and the world become nebulous, yet the boundary between the protagonist and his environment does not disappear completely. Neither does the text become a meandering between consciousness and the world. Indeed, narrative emphasis shifts to this very boundary, and to the possibility of its erasure. As such, however, the plausibility of the space where action takes place is maintained, much as in Ehlvest’s earlier stories. (shrink)

This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)

In Robert Walser’s work any intention of meaning would seem to be revoked in doubt, in favour of blatant mannerism. This, in turn, would take the actual form of a proclaimed abstention from the pursuit of any purpose, so as to be similar to a simple graphic texture. The aim of this article is to show how this peculiar textual economy favours the invention of a subject capable of giving rise to a fictitious identity to the point of no longer (...) being able to distinguish any gap between reality and fiction. (shrink)

Este artículo tiene por objeto destacar la relevancia de una noción de “muerte impersonal” en el horizonte de una indagación no antropocentrada de lo biopolítico. En tanto no se rige por la teleología del principio antrópico, la filosofía contemporánea considera lo impersonal como una resistencia al biopoder, aunque suele concentrarse en los avatares del concepto de Vida. Aquí, avanzamos en el examen de los rasgos de la muerte impersonal en dos pensadores cuyas obras resultan fundamentales para estas líneas de trabajo (...) contemporáneas. En Nietzsche, analizamos la cuestión de la “muerte libre” y la imagen de la ceniza, dando cuenta de las posibilidades que allí se vislumbran para una reivindicación de lo impersonal. Luego, subrayamos sus semejanzas y derivaciones en los conceptos blanchotianos de “momento deseado” y “tiempo muerto”. (shrink)

La deconstrucción, en el pensamiento de Jacques Derrida y Jean-Luc Nancy, expresa loslímites del «ser en conjunto», al desafiar los conceptos tradicionales de fraternidad, amistado democracia. En este texto pretendemos incidir en la tangente entre Derrida y Nancy,poniendo en cuestión la prescripción ético-política inherente a la expresión «vivir juntos».Intentamos recorrer la línea, sutil pero decisiva, que marca la distancia y, como tal, lasingularidad de estos pensamientos en la filosofía contemporánea.

Prior to having its authenticity and transparency examined the openness of human existence may be said to need preservation as is, regardless of its receptivity and responsiveness to the truth of Being. Paradoxically, in self-sacrifice the fulfilment of Dasein’s ownmost potentiality-for-being is dependent upon a most radical disowning of itself. This investigation approaches self-sacrifice on the basis of its analogy with the creation of the work of art – as the peculiar fixation of the existing, already disclosed world of everydayness (...) within Dasein’s final absence. Finally, the suggestion is made that the incommensurable greatness of the heroic self-sacrifice needs to be itself preserved from the degradation brought about by massive and compulsive reproduction. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008. (shrink)

RESUMEN Según Furio Jesi y Giorgio Agamben, la máquina antropológica es un dispositivo histórico que produce imágenes del hombre. En este artículo nos proponemos retomar esta categoría y mostrar que existen dos grandes modelos de máquina según la naturaleza de la imagen generada: la máquina teológica-bíblica, que funciona hasta el siglo XIX y que produce al hombre como ícono; la máquina ateológica, posterior a la muerte de Dios, que produce al hombre como fantasma. ABSTRACT According to Furio Jesi and Giorgio (...) Agamben, the anthropological machine is a historical dispositive that produces images of man. This paper aims at returning to this category and demonstrating that two models of the machine can be found depending on the nature of the image produced: the theological-biblical machine that operates until 19th century and that produces man as icon, and the a-theological machine, after disappearance of God, that produces man as phantasm. (shrink)