Paul Klee's art found broad impact upon philosophers of varying commitments, including Hans-Georg Gadamer. Moreover, Klee himself was not only one of the most important artists of aesthetic modernism but one of its leading theoreticians, and much in his work, as in Gadamer's, originated in post-Kantian literary theory's explications of symbol and allegory. Indeed at one point in Truth and Method, Gadamer associates his project for a general "theory of hermeneutic experience" not only with Goethe's metaphysical account of the symbolic (...) but equally with a "rehabilitation" of allegory. In this paper, I examine this position and Gadamer's own use of it in his analysis of Klee's work, contrasting it with that of Walter Benjamin's account of allegory, equally indebted to Goethe and this archive. Finally, I contrast the resulting interpretations of Klee, discussing the implications that evolve for understanding both Gadamer and Benjamin— but equally for understanding Klee's work and, provisionally, the work of art, thus construed, for philosophy. (shrink)

ABSTRACT The sense of kairos is of time as having an event-like character. Fundamental here is a split between quantitative time and a qualitatively distinct moment. The decisive moment connects the kairological to crisis. By exploring the accounts of kairos in three contemporaries responding to the sense of crisis in 1920s Germany—Benjamin, Heidegger, and Tillich—this article shows the manner in action in the kairos can be understood as both responsive and non-opportunist. Themes such as the “tiger leap” (Benjamin), the “moment (...) of vision” (Heidegger), and the “shuddering” of time (Tillich) are analyzed to demonstrate how these accounts taken in dialogue with one another give an understanding of kairos, as a displacement and disruption of time as chronos and not simply as an interruption in chronological time. Such a disruption of chronological time is a necessary condition for responsible action, giving a measure also for the present. (shrink)

The following examines the concept of time in Gadamer’s work, looking specifically at the role of artwork and festival as focal points of his temporal analysis. It is argued that the usual way of understanding Gadamer’s reflections on time as either “empty” or “fulfilled,” while accurate, need to be supplemented by a third species of time which is neither “full” nor “empty,” pointing instead to the underappreciated role of eternity in his thought. Eternity in this instance is not the other (...) or the outside of time, as one finds in various traditional metaphysical determinations. It is rather intended as the vast and unending time of the cosmos, hinted at in the experience of artwork and festival. (shrink)

This article presents Gadamer’s interest in temporality as his strategy for advancing hermeneutics as philosophy of experience, a strategy becoming significantly more salient with the appearance of his 1992 essay, ‘Wort und Bild’. I demonstrate how temporal categories readily demarcate the problem of ontological imbalance so central in Gadamer’s philosophical project, a demarcation that removes any illusion of compatibility between Gadamer and the hermeneutics of Paul Ricoeur. The article also considers some common misunderstandings of Gadamer resulting from a failure to (...) take full account of his interest in temporality, misunderstandings that prohibit recognizing the radical potential of Gadamer’s hermeneutical philosophy for our understanding of human finitude. A full account of this orientation must begin with a grasp of the exemplariness of art in his philosophy, and in this connection, the article raises the question of Gadamer’s late interest in the distinct exemplariness, not of lyric poetry, but of narrative art. (shrink)