This article elucidates and interpretively develops Raimon Panikkar's hermeneutics of intertraditional dialogue by way of setting it into sympathetic and critical dialogue with the predominantly intratraditional hermeneutics of Hans-Georg Gadamer. It argues that Panikkar's thought enables us not only to appreciate, but also to question the limits of the fundamental roles played by language and tradition in Gadamer's hermeneutics. Panikkar's own hermeneutical reflections arise directly out of intertraditional as well as interlinguistic experience; and they ultimately direct us toward the profoundest (...) dimension of dialogue, a dimension in which the words we share arise out of and gesture back into the depths of an originary silence. (shrink)

ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse haiku pioneer (...) Santoka Taneda. What makes these poems relevant is not merely their superficially shared theme of time, but an intrinsic affinity, manifested in different poetic “time-objects”, to the very notion of time-consciousness. Through poetic analysis in the context of Husserl’s philosophy of time-consciousness, these poetic experiences, embodied in a phenomenological concept of “walking,” emphasize time as being. (shrink)

In The Poetic Axis of Ethics, Kelly Oliver argues that in Derrida's The Beast and the Sovereign Volume II, a line of poetry from Celan becomes the axis around which Derrida's analysis of world, death, and ethics revolves: ‘Die Welt ist fort, ich muß dich tragen’ [The world is far away, I must carry you]. Oliver maintains that the Celan fragment, which is repeated in nearly every session, is not only the axis around which Derrida binds the unlikely duo Robinson-Heidegger, (...) but also it is a performance of a certain poetic world making that Derrida proposes as a counterbalance to sovereign world building. (shrink)