At the core of Heidegger's philosophy, there lies this nagging question: what is the link between language and being? Using a famous formulation by Heidegger as a guide (‘When we go to the well, when we go through the woods, we are always already going through the word “well”, through the word “woods”’), the analysis focuses on the connection Heidegger establishes between being (what woods and well ‘are’), understanding (something is understood ‘as’ woods or well), and temporality (human understanding of (...) woods and well has changed since ancient Greek times, for example). Language is both what grants things their way to matter to us and thus to ‘be’ for us to the extent that we understand them, but language is also linked to a ‘happening’ (Geschehen) or an event so that things are not bound to their Geek being or current being: things ‘become being’ (seiend werden). Language is both the means for things to materialize in historical times: ‘being woods’ or ‘being a well,’ as well as a testimony to their entry into being. This is why language in its poetic use can make beings ‘more being’ (seiender). (shrink)

This article develops a concept of lyrical sociology, a sociology I oppose to narrative sociology, by which I mean standard quantitative inquiry with its "narratives" of variables as well as those parts of qualitative sociology that take a narrative and explanatory approach to social life. Lyrical sociology is characterized by an engaged, nonironic stance toward its object of analysis, by specific location of both its subject and its object in social space, and by a momentaneous conception of social time. Lyrical (...) sociology typically uses strong figuration and personification, and aims to communicate its author's emotional stance toward his or her object of study, rather than to "explain" that object. The analysis considers many examples and draws on literary criticism, the philosophy of time, and the theory of emotion. It also addresses contemporary debates in ethnography. (shrink)

This article applies the analytic rigor of philosophy to the vexed topic of business strategy, and uses the objective, public evidence of business strategy as an existence proof for the possibility of free will and purpose in the private realm of subjective intentionality. The first part distinguishes three types of intentionality in philosophy—purposive intentionality, referential intentionality, and the problematic intentionality of a godlike, miraculous “inner intender.” After rejecting this third type of intentionality, and noting that its rejection saves the first (...) two types of intentionality from guilt by association, the second part draws parallels with three types of strategy in business: purposive, referential, and godlike. The first defines the goals and objectives of a company; the second picks out and targets consumers in market driven strategy; and the third, with the help of philosophical reflections, demands a rethinking of the function of leadership without reliance on a single, godlike leader. In the third part of this article, the existence proof from the public world of business is used to shed light on the possibility of intentionality in the private world of subjective intentionality. Finally, the article draws conclusions for its three audiences: for the philosophers, with credit to Nietzsche who saw it all, a greater clarity about intentionality and free will; for business people, greater clarity about the importance of purposiveness and strategic intent; and for business philosophers, a demonstration showing how—through strategy and intentionality—we can both create value and give meaning to the lives of our employees, ourselves, and our customers. (shrink)

This article inquires into a paradoxical position held by the concept of ‘nature’ in Derrida's thought. While a pivotal part of his project of deconstruction is devoted to a critique of the metaphysical privileging of nature over its others (technics, culture, and so on), the same project also aims at dismantling the hierarchical binary opposition of man/animal. Insofar as the term ‘animal’ or ‘animality’ to a large extent overlaps with nature, these two strands of his thought appear to stand in (...) a significant tension with each other. I explore this conceptual tension by re-examining Derrida's early critique of the notion of nature – specifically in his reading of Rousseau – in conjunction with his later engagement with the question of animality. As my reading shows, deviating from his early approach, his later work indicates the way in which animal others (and, by extension, all living and non-living others) are indeed constituted by supplementarity and yet, in their irreplaceable singularity, exceed the very structure of supplementarity. This opens up a new way of conceiving nature, no longer as originary presence nor simply as an effect of supplementary play, but in terms of the aporetic relation between supplementarity and what may be termed ‘the unsupplementable’. (shrink)

Despite frequent valorizations of music in the west, the art has also been perceived as a threat to philosophy and theology, ostensibly on the grounds of its potential for danger to the polis (Plato and Aristotle), temptation to impiety (Augustine and Calvin), coercion (Kant), or lack of objective content (Hegel). Accompanying these doubts is a longstanding anxiety concerning music's relation with inarticulation or silence. Debates over the definition and ontology of music persist today in both analytic and continental traditions, with (...) neither approach succeeding in forging consensus. Musical Platonism (Kivy, Norris) is today's uneasy default position in the academy. However, recent reassessments of speech acts (Miller) and of the Derridean world as phantasm (Naas) can return music to its structural constitution in différance – to an alternation between sound and silence. This redefinition of music and its parallel with language can contextualize Derrida's most extended engagement with the topic, his interview with Ornette Coleman. (shrink)

Jeffrey Tulis’s The Rhetorical Presidency is deceptively titled. It is not about rhetoric or political symbolism or even about the American presidency as such, as were many postmodern studies produced in the Reagan era. Rather, Tulis re‐situates rhetoric: a minor theme in a story about the presidency becomes an important avenue into profound questions of political order and republican governance. Like Tulis, I approach my thesis obliquely; I distinguish his from other, seemingly similar, works to underscore what I see as (...) the book’s lasting legacy: its explication of the double binds and central paradoxes of republican governance , and its articulation of the role of rhetoric in institutional transformation. (shrink)

When Giambattista Vico wrote and rewrote the Scienza Nuova between 1725 and 1744, he all but completely occluded his own discipline – rhetoric. Professor of Latin Eloquence at the University of Nap...

What role do speakers'/authors’ communicative intentions play in language interpretation? Cognitive scientists generally assume that listeners'/readers’ recognitions of speakers'/authors’ intentions is a crucial aspect of utterance interpretation. Various philosophers, literary theorists and anthropologists criticize this intentional view and assert that speakers'/authors’ intentions do not provide either the starting point for linguistic interpretation or constrain how texts should be understood. Until now, cognitive scientists have not seriously responded to the current challenges regarding intentions in communication. My purpose in this article is (...) to provide just such a response. I briefly describe some of the empirical evidence in cognitive science on the importance of intentions in communication. I then discuss some of the criticisms of the intentional view that have arisen in the humanities and social sciences. Following this, I offer a partial resolution to the intentionalist controversy that recognizes the differing views on the idea of linguistic interpretation. I specifically suggest a way of thinking about linguistic interpretation in terms of the time‐course of understanding that provides a metric for evaluating the role of intentions in communication. This time‐course perspective on linguistic understanding provides for the plurality of ideas that now exist both in cognitive science and in postmodern philosophical thought. (shrink)

This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of (...) historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life. I demonstrate how these films construct a new way of transmitting the experience of living with the past, through detailed analysis of approximately fourteen films from Europe, Latin America and the Middle East, including a detailed study of Lucrecia Martel’s work. This formal analysis is developed through the perspective of the historical, political and institutional to show how the films transcend a variety of existing definitions in films studies, to blur boundaries of categorisation. (shrink)

Divided into eight sections, each with introductory essays, the selections offer rich and detailed insights into a diverse multinational philosophical landscape. Revealed in this pathbreaking work is the way in which traditional philosophical issues related to ethics, metaphysics, and epistemology, for instance, take on specific forms in Africa's postcolonial struggles. Much of its moral, political, and social philosophy is concerned with the turbulent processes of embracing modern identities while protecting ancient cultures.

The present study provides an ethnomethodologically informed respecification of intention in the context of architectural education. The analyses focus on the ways in which participants deal with the relation between formulations of intention and designed objects. Claimed mismatches between stated intention and design make relevant instructional sequences elaborating alternative ways of understanding the design and possible routes by which articulated intentions could have been realized. The practice of topicalizing intentions appears to be a technique by which aspects of architectural competence (...) are made visible and instructed. In particular, the practice makes otherwise unattended aspects of the design process accountably available for assessment and remark. Furthermore, the complexities of architectural consequence in relation to individual design decisions are addressed as an instructional matter. The study expands existing work on intention ascription and avowal by examining a setting where participants deal with the intentional status of designed objects. It is argued that the analyzed assessment sequences are shaped and organized with reference to the particularities of architectural knowledge as well as to the educational character of the activity. Their basic logic, however, is grounded in ordinary understandings of action and intentionality. (shrink)

A poem encrypts, though not predictably, the effects it may have when at some future moment, in another context, it happens to be read and inscribed in a new situation, in ‘an interpretation that transforms the very thing it interprets’, as Jacques Derrida puts it in Specters of Marx. In Wallace Stevens's ‘The Man on the Dump’ (1942), we are told: ‘The dump is full/Of images’. The poem's movement is itself a complex temporal to and fro that aims to repudiate (...) and even annihilate these images. This renunciation leaves the man on the dump ‘The Latest Freed Man’, as the title of another Stevens poem puts it. Like Walter Benjamin's Angel of History, he has his back toward history and has rejected its images in ‘disgust’ in order to face toward a future that will, he hopes, be purified of ideology. Yet Stevens knows that more such images will come and will need in their turn to be rejected and junked, in an endless task of purification. In a now impossibly outdated way, Stevens nevertheless wanted the poet – that is, himself, the man on the dump – to be the begetter of a new ideology, or a new fiction that would, in a powerful speech act, replace all those outworn images on the dump. In the context of potentially catastrophic climate change (as the result of something like a global auto-immune disorder), the second part of the essay complements this commentary on the poem with a free reading; a performative reading, reading as work or as oeuvre that does something with words, for which Jacques Derrida calls. This reading sees Stevens's text as somehow the proleptic foretelling of a present situation. Such future chiming is also, it is argued, a sign to sign relation, an anticipatory allegory or prophecy, or, perhaps, a miniature apocalypse in the etymological sense of an enigmatic unveiling of what has not yet happened. (shrink)

The interest of this paper is to discover the precondition of experience. It is suggested that Walter Benjamin's meditations on Proust, as well as on the origin of the novel, lead to the verge of that discovery. A la recherche du temps perdu is less a monumental work of fiction in this view than the limit of experience – the intransmissible fact of the transience of the present – made manifest in writing. While in Proust transience gives way to its (...) recuperation as image, Thomas Bernhard's post-Proustian masterpiece Extinction mobilizes the present's destructive potential with compelling effect, and turns it upon the work of historical experience itself. (shrink)

This article presents Derrida as a philosopher of history by reinterpreting his De la Grammatologie. In particular, it provides a schematic reconstruction of Part II of that book from the perspective of the problem of history. My account extends work on historicity in Derrida by privileging the themes of ‘history’ and ‘diagram’ in the Rousseau part. I thereby establish a Derridean concept of history which aims at accounting for the continuities and discontinuities of the past. This is in contrast to (...) some criticism that Derrida leaves behind, or inadequately accounts for history. Derrida describes a necessarily contorted condition of relating any historical event or development to itself or to another. This historicity informs other well-known aspects of Derrida's work, like the ‘quasi-transcendental’ terms he developed. I conclude that ‘history’ is a critical element in any understanding of deconstruction, and that deconstruction entails new kinds of history, but that some axioms of current historical thought require reformation. (shrink)

This paper offers a phenomenological or hermeneutic reading—employing Heidegger's notion of the 'ontological difference'—of certain central aspects of schizophrenic experience. The main focus is on signs and symptoms that have traditionally been taken to indicate either 'poor reality-testing' or else 'poverty of content of speech' (defined in the Diagnostic and Statistical Manual of Mental Disorders III-R as: “speech that is adequate in amount but conveys little information because of vagueness, empty repetitions, or use of stereotyped or obscure phrases"). I argue (...) that, at least in some cases, the tendency to attribute these signs of illness to the schizophrenic patient results from a failure to recognize that such patients—as part of a quasi-solipsistic orientation and alienation from more normal, pragmatic concerns—may be grappling with issues of what Heidegger would call an ontological rather than an ontic type, issues concerned not with entities but with Being (i.e. not with objects in the world but with the overall status of the world itself). An application of the Heideggerian concept of the ontological difference has the potential to alter one's sense of the lived-worlds of such patients, of what they may be attempting to communicate, and of why communication with them so often breaks down. (shrink)

In this essay I consider what is meant by the description ‘great’ philosophy and then offer some broadly applicable criteria by which to assess candidate thinkers or works. On the one hand are philosophers in whose case the epithet, even if contested, is not grossly misconceived or merely the product of doctrinal adherence on the part of those who apply it. On the other are those – however gifted, acute, or technically adroit – to whom its application is inappropriate because (...) their work cannot justifiably be held to rise to a level of creative-exploratory thought where the description would have any meaningful purchase. I develop this contrast with reference to Thomas Kuhn’s distinction between ‘revolutionary’ and ‘normal’ science, and also in light of J.L. Austin’s anecdotal remark – à propos Leibniz – that it was the mark of truly great thinkers to make great mistakes, or to risk falling into certain kinds of significant or consequential error. My essay goes on to put the case that great philosophy should be thought of as involving a constant readiness to venture and pursue speculative hypotheses beyond any limits typically imposed by a culture of ‘safe’, well-established, or academically sanctioned debate. At the same time – and just as crucially – it must be conceived as subject to the strictest, most demanding standards of formal assessment, i.e., with respect to basic requirements of logical rigour and conceptual precision. Focusing mainly on the work of Jacques Derrida and Alain Badiou I suggest that these criteria are more often met by philosophers in the broadly ‘continental’ rather than the mainstream ‘analytic’ line of descent. However – as should be clear – the very possibility of meeting them, and of their being jointly met by any one thinker, is itself sufficient indication that this is a false and pernicious dichotomy. (shrink)

This is a general reading of Callimachus' work within the socio-political context of Ptolemaic Alexandria. "Alibis" refers to the constitutionally expatriate nature of the populace and culture established there, which in Callimachus gives rise to a poetics based on the principles of displacement and convergence. Close analysis of a wide variety of passages, drawn principally from the epigrams, Aetia, and Hymns, demonstrates how the "order of the alibi" informs all major aspects of the poet's work, from the lexical make-up of (...) his texts to their larger narrative and thematic structure. Certain poems in the corpus, such as the Lock of Berenice and the Hymn to Apollo, not only require detailed knowledge of Greek literature, history, and religious institutions, but also draw extensively on Egyptian mythography and cultural models, which do not so much replace the Hellenic matter as-characteristically-cohabit with it. In this respect, Callimachus served both as a key architect of the new, multi-ethnic culture that the Ptolemies institutionalized in Egypt and as its most penetrating critic. (shrink)

The idea that language is metaphoric in nature has often been suggested or stated since Vico and Rousseau. Derrida, too, often writes about metaphor and the impression he gives is that he is arguing for the metaphoric nature of both thought, whether philosophic or not, and language. Interpreters like de Man or Culler have helped to spread this impression. If it is correct, Derrida shares a pan-metaphoric view of language and whatever can be made with it. It is useful to (...) refer to Derrida's view because in my opinion he has been very good at saying what language is, even if he has been very much in the wrong in seeing no distinction between language and language use. Let us consider first what he has been good at. (shrink)

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration of the (...) Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

In Letter 5.8 Pliny shows that in the post-Domitianic era historia has become an impossible genre, both as a vehicle for conventional moral wisdom and because of the authoritative narrative voice it necessitates. The letter's literary strategies of deferral express these problems even as its content appears to argue positively the merits of historia and compare it with those of oratio. Pliny emphasizes the insufficiency of the narrative “I”, suggesting instead the importance of dialogue as the means both toward the (...) ethical reconstruction of post-tyrannical discourse and the literary fame for which Pliny also hopes. (shrink)