This monograph contributes to the scientific misconduct debate from an oblique perspective, by analysing seven novels devoted to this issue, namely: Arrowsmith by Sinclair Lewis (1925), The affair by C.P. Snow (1960), Cantor’s Dilemma by Carl Djerassi (1989), Perlmann’s Silence by Pascal Mercier (1995), Intuition by Allegra Goodman (2006), Solar by Ian McEwan (2010) and Derailment by Diederik Stapel (2012). Scientific misconduct, i.e. fabrication, falsification, plagiarism, but also other questionable research practices, have become a focus of concern for academic communities (...) worldwide, but also for managers, funders and publishers of research. The aforementioned novels offer intriguing windows into integrity challenges emerging in contemporary research practices. They are analysed from a continental philosophical perspective, providing a stage where various voices, positions and modes of discourse are mutually exposed to one another, so that they critically address and question one another. They force us to start from the admission that we do not really know what misconduct is. Subsequently, by providing case histories of misconduct, they address integrity challenges not only in terms of individual deviance but also in terms of systemic crisis, due to current transformations in the ways in which knowledge is produced. Rather than functioning as moral vignettes, the author argues that misconduct novels challenge us to reconsider some of the basic conceptual building blocks of integrity discourse. (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...) como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough” (MIT-Press, 2017), I will build on some of her ideas in order to strengthen her account.

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came (...) to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

This article looks at the role of Hellenistic thought in the historical narratives of Martin Heidegger and Hannah Arendt. To a certain extent, both see—with G. W. F. Hegel, J. G. Droysen, and Eduard Zeller—Hellenistic and Roman philosophy as a “modernity in antiquity,” but with important differences. Heidegger is generally dismissive of Hellenistic thought and comes to see it as a decisive historical turning point at which a protomodern element of subjective willing and domination is injected into the classical heritage (...) of Plato and Aristotle. Arendt, likewise, credits Stoic philosophy with the discovery of the will as an active faculty constituting a realm of subjective freedom and autonomy. While she considers Hellenistic philosophy as essentially apolitical and world-alienated—in contrast to the inherently political and practical Roman culture—it nonetheless holds for her an important but unexploited ethical and political potential. (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.

El debate central en filosofía de la imagen se articula en torno a la oposición entre un enfoque semiótico, que considera a la imagen como un determinado tipo de signo, y uno perceptualista, que se orienta hacia la captación de imágenes y la caracteriza en su relación con la percepción sensible. Se señalan algunas dificultades de dicha articulación y se analiza el enfoque hermenéutico y la ontología heideggeriana de la imagen para mostrar cómo puede contribuir a renovar el debate, afectando (...) incluso su pregunta conductora. (shrink)

Phenomenology is considered a philosophy of experience. But in the wake of French post-structuralism beginning in the 1970s, the concept of experience within phenomenology has fallen under heavy critique. Even today, in the context of feminist philosophy the phenomenological concept of experience has yet to recover from the poststructuralist critique. In this article, I will closely examine the poststructuralist critique of the concept of experience within the context of feminist theory. I will thereby refer first and foremost to the poststructuralist (...) theorist Joan Scott, and her influential text “'Experience'”. In my examination of the poststructuralist critique of experience, the leading question will be whether or not this critique, down to its details, can in fact be applied to phenomenology. My thesis is that phenomenology is able to withstand the poststructuralist critique of experience. Further, I will argue that post-structuralism and phenomenology have more in common as regards the concept of experience than is usually admitted. For several reasons, it seems - as I will maintain - that both poststructuralist feminism and phenomenology are equally interested in a strong concept of experience and thus do not promote doing away with the concept. (shrink)

Heidegger’s oeuvre (> 100 volumes) contains a plethora of comments on contemporary science, or rathertechnosciencebecause, according to Heidegger, science is inherently technical. What insights can be derived from such comments for philosophers questioning technoscience as it is practiced today? Can Heidegger’s thoughts become a source of inspiration for contemporary scholars who are confronted with automated sequencing machines, magnetic resonance imaging machines and other technoscientific contrivances? This is closely related to the question of method, I will argue. Although Heidegger himself was (...) notoriously ambivalent when it came to method, especially in his later writings, his oeuvre nonetheless contains important hints for how a philosophical questioning of technoscience could be practiced, such as: paying attention to language (to the words that we use) or taking a step backwards (towards the moment of commencement of the type of rationality at work). For Heidegger, method means: being underway, and a philosophical method must be developed along the way. After discussing Heidegger’s views on method, both in his earlier and in his later writings, three dimensions of contemporary technoscience will be addressed, namely: technoscientific objects (research artefacts), technoscientific sites (laboratories as unworldly environments) and technoscience as a global enterprise. In the final section, the question will be addressed whether and how a critical encounter between philosophy and technoscience is possible. (shrink)

In the work of Henri Bergson and Martin Heidegger we find different responses to traditional ideas of ‘creation’. Bergson advances a philosophy of creation, wherein ‘creation’ is presented as the production of a ‘radical’ or ‘absolute’ novelty, not only in art, but in all forms of human experience and biological life. Heidegger, in contrast, comes to criticise ideas of ‘creation’ in art as the expression of an alienated ‘humanism’ and ‘subjectivism’ essential to the modern age. This paper illuminates this divergence (...) by showing how Bergson and Heidegger, despite appearances, grapple with the question of art-production – and with the attendant issues of inheritance and originality – in similar ways. It is only in recognising this proximity, I argue, that it is possible to perceive adequately what essentially distinguishes their approaches: Bergson’s conception of creation as a function of the will. (shrink)

An archive is a repository - that is, a place or space in which materials of historic interest or social significance are stored and ordered. A national archive is the storing and ordering place of the collective memory of that nation or people(s). This article provides a brief his torical/theoretical introduction to the politics of the archive in late capi talist societies and discusses this politics of memory via the performance of ordinary daily activities of librarians and archivists. Some relevant (...) political/discursive questions include: who controls, establishes and maintains the archive, and how do they do so? Which materials are preserved in the archive and which are excluded? As the documents and artifacts selected for the archive are ordered and classi fied, how do the schemas and structures applied include, exclude, fore ground or marginalize those materials? Finally, to what extent do the logical hierarchies for classification and arrangement reflect social or political hierarchies? Librarians and archivists face these concerns in HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;17-32; 006604]their professional practice as they make decisions influenced by budgets, finite amounts of both physical and computer storage space and limited staff resources. The authors give real-life examples of choices made as archivists struggle to balance ideological goals made contradictory by practical constraints. For example, is it more appro priate to acquire as many materials as possible but be unable to describe, preserve and present them adequately, or is it preferable to describe, preserve and make fully available a more limited range of records and documents? Because of such practical concerns in modern technicist cultures, the explicitly political who often is reduced to the technically instrumental how - that is, political-moral questions are displaced to nonmoral and nonpolitical technical discourse, thereby establishing a 'meta-politics' that is understood only by the initiated. Conversely, archival activities such as acquisition, classification and preservation are 'technical' activi ties that may become explicitly 'political'. The article concludes that technical activities always are political, at least latently or potentially, even when they are not contested and made explicitly political. (shrink)

Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, a (...) new category is proposed, the interesting, in order to capture the aesthetic experience of postindustrial landscape art that eludes current terminology. (shrink)

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? (...) Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)

What need is there for an environmental aesthetics? The answer to that question is by no means obvious. To be sure, that we need to protect our environment has become a cliché that I am just a bit wary about repeating it here – the statement hardly bears much discussion any longer. Is it not obvious that we need to make sure that all those natural resources on which we depend for our survival will continue to be available, not just (...) to us, but to future generations? And when we think here of natural resources, we should consider them in the widest possible sense so that they include what the ancients thought of as the four elements, air, water, earth and fire. And here I invite you to think of them in their modern transformations. Even space has become an increasingly scarce resource. But if all this is indeed obvious, if the facts today speak loudly enough, it is not at all clear why we should be in need of an environmental aesthetics? What, if anything, does aesthetics have to contribute to our attempt to meet the environmental problems we face? (shrink)

_ Source: _Volume 47, Issue 3, pp 406 - 428 Interpretations of the so-called _Black Notebooks_ have emphasized the interaction between Heidegger’s philosophy, particularly his notion of a “history of being”, on the one hand, and his affiliation with National Socialism and his anti-Semitic views on the other. The paper proposes to understand this interaction as in part determined by the inherent logic of Heidegger’s ontological reasoning: Heidegger takes power, violence and brutality as the key for understanding his present day (...) and turns to these phenomena as confirmation of the ontology he envisages at the time. But the notes published so far, ranging from 1931 to 1948, document Heidegger’s incapacity to assign to the events of these years a plausible position in his ontology. This failure deepens a trauma both personal and philosophical. Rather than reject the notion of a history of being altogether, I propose an alternative understanding of its logic motivated by Heidegger’s failure to bring his ontological project to the anticipated completion. (shrink)

This paper argues that Paul Ricoeur’s hermeneutical philosophy attempts to reopen the question of human transcendence in contemporary terms. While his conception of language as self-transcending is deeply Husserlian, Ricoeur also responds to the analytical challenge when he deploys a basic distinction in Fregean logic in order to clarify Heidegger’s phenomenology of world. Ricoeur’s commitment to a transcendental view is evident in his conception of narrative, which enables him to emphasize the role of the performative in literary reading. The meaning (...) of the self in time provides Ricoeur with a discursive basis for distinguishing his own position from that of Kant and other philosophers in the transcendental tradition. (shrink)

Dass Kunst Sinnliches zu vergeistigen und Geistiges zu versinnlichen vermag, macht ihren Wesenskern und zugleich Rätselcharakter aus. Dass dieses Rätsel immer erneut als unaufgelöst erscheint, bedeutet auch, dass eine fortdauernde Irritation von Kunst ausgeht. Das Bestürzende der Kunst ist dies, dass sie den scheinbar unversöhnlichen Gegensatz des Geistigen und Sinnlichen zugleich als versöhnt erscheinen lässt: als Ver-Sinnlichung von Ideellem. Hegels These, dass die Kunst, eben durch diese Bindung an Sinnliches, 'ihrer eigentlichen Bestimmung nach für uns ein Vergangenes' sei, erscheint so (...) gesehen problematisch. Hat die geistesgeschichtliche Entwicklung die Kunst ihrer Irrelevanz überführt im Vergleich mit den nach Hegel höheren Formen des Geistigen, der Religion und der Philosophie? Entscheidend ist die Bewertung des sinnlichen Elements – dies näher zu klären wird hier in der Konfrontation der Hegelschen These mit den Kunstdeutungen Heideggers und Adornos unternommen. (shrink)

Cílem článku je ukázat, že německá raná romantika, která položila filosofické základy romantického hnutí, nebere příklon k subjektivitě prožívání jako odklon od poznání, nýbrž jako jiný způsob poznání. Romantická niternost nachází svůj protějšek ve zkušenosti světa, jemuž umění dokáže propůjčit hlubší význam než racionální filosofie a věda. Tento nový pohled na poznání je romantiky použit jak na výklad přírody, tak duchovní lidské skutečnosti. Článek upozorňuje na to, že vedle dědictví spinozismu měla romantická epistemologie důležitý zdroj v některých úvahách Kantovy Kritiky (...) soudnosti. Tato vazba je sledována zvláště na příkladu filosofie umění F. W. J. Schellinga. Argumentace článku je rozvinuta v kritické konfrontaci se subjektivistickou interpretací romantiky H.-G. Gadamera, čímž se ozřejmuje její širší epistemologický dosah i aktuálnost. Návaznost německých romantiků na Kantovu Kritiku soudnosti se spíše než tendencí k subjektivizaci estetiky projevovala ve snaze o estetizaci poznání. (shrink)

El presenta trabajo describe y caracteriza de manera breve y concisa lo que podría ser una ontología del arte. En la primera sección se presentan las dificultades actuales, así como las nociones y preguntas principales de la ontología. En la sección segunda, se bosquejan las definiciones y caracterizaciones actuales de la ontología, se hace especial hincapié, en la ontología aplicada. En la tercera, cuarta y quinta sección se caracteriza y configura lo que podría ser una ontología del arte, se evidencian (...) sus limitaciones así́ como sus perspectivas y trazabilidad para hacer viable dicha ontología; adicionalmente se abordan los aportes del realismo anglosajón a la cuestión. El propósito de esta caracterización es hacer evidente que es plausible dar un tratamiento integral al problema de la realidad y su configuración y desarrollo en los mundos regionales, como, el mundo del arte. (shrink)

Der soziotechnische Wandel bringt neue Phänomene des Zufalls hervor, die sich den üblichen Strategien des Umgangs mit Risiken und Unsicherheit entziehen. Diese Akzidenzphänomene sind prinzipiell unvorhersehbar und in ihrer komplexen Effektgesamtheit jenseits von Kalkulation und Antizipation. Eine allgemeine Verzukünftigung unseres Weltbezuges mit spezifischen weitreichenden Problemen ist die Folge und lässt klassische Agenturen des Risikomanagements und der Unsicherheitsbewältigung an ihre Leistungsgrenzen stoßen. Bruno Gransche zeigt, dass Philosophie und Zukunftsforschung gemeinsam großes Potenzial aufweisen, hier zu helfen.

This paper is an attempt to criticize the reification of language present in Heidegger’s writings after the Kehre . The steps of the argument are as follows. First, it is argued that the specific features of Heidegger’s conception of language after the Kehre can be traced back to Heidegger’s conception of the ontological difference in Being and Time . The common element in both conceptions is the assumption that meaning determines reference (i.e. that the way entities are understood determines which (...) entities we can refer to). In the next step the implications of this assumption are shown through an analysis of Heidegger’s conception of designation in Being and Time and after the Kehre . Finally, this conception of designation is criticized with the help of the analysis of designation offered by the so-called theories of direct reference. Key Words: Donnellan • Heidegger • language • linguistic idealism • meaning • ontological difference • reference • referential/attributive distinction. (shrink)

My title is derived from Heidegger's 1936-37 lectures, The Will to Power as Art, and my discussion is keyed to two of the Nietzschean remarks on art which Heidegger discusses. The first is: "The phenomenon 'artist' is still the most perspicuous" (Nietzsche 69), and the second is: "The will to semblance, to illusion, to deception, to becoming and change is deeper, more 'metaphysical,' than the will to truth, to reality, to Being" (Nietzsche 74). Heidegger reformulates them respectively as: "Art is (...) the most perspicuous and familiar configuration of will to power," and "Art is worth more than the truth" (75). I propose to tease out what these aphorisms imply for Heidegger's answer to the panel question: "What is a work of art?/Was ist ein Kunstwerk? (shrink)

This essay reconstructs Oskar Becker’s idiosyncratic conception of aesthetics and its importance for phenomenology. For Becker, the aesthetic is not simply one type of phenomenon among others; rather, it occupies a privileged position as, first, that phenomenon which is itself “wholly phenomenal,” and, second, that phenomenon which discloses the ontological structure of phenomenality itself (and is thus what he calls “hyperontological”). The paper first reconstructs Becker’s descriptive phenomenology of the aesthetic (which he restricts to the realm of masterpieces of fine (...) art). For Becker, the key characteristic for understanding the givenness of beauty is its sense of fragility, which he uses to reveal a complicated interweaving of temporality and modality at the heart of the aesthetic. This essay then shows how this is rooted in Becker’s larger ontological project of developing a phenomenology of the non-historical in dialogue with Heidegger’s early work, a project which began in 1927 with the publication of his magnum opus Mathematical Existence. (shrink)

_Investigates the philosophical relationship between Levinas and Heidegger in a nonpolemical context, engaging some of philosophy’s most pressing issues._.

This essay builds on a review of Iain Thomson’s recent monograph, Heidegger, Art, and Postmodernity, the theme of which is Heidegger’s post-Kehre thinking. Through a series of close textual exegeses, and attentive analyses of concepts, Thomson traces the philosopher’s concern to envisage a means of escaping the late-modern comprehension of being. The latter is characterized, in Thomson’s interpretation, by the ‘technological’ or Nietzschesque understanding of ontology in terms of the eternally recurring will-to-power, according to which objects are identified as intrinsically (...) meaningless, optimifically available, utilitarian resources. Thomson argues that Heidegger’s engagement with modern painting seeks to develop an alternative paradigm, characterized as a concrete, phenomenological attempt to show how modernity can be transcended from within through reflection on art. Thomson amplifies Heidegger’s conviction that modernity implicitly influences the conceptual substrate of modern aesthetics into a critique of the motivating framework that continues to normatively determine the continuing grounding assumptions of the philosophy of art. I show that Thomson’s book, by revisiting Heidegger in this form, importantly intimates a way of transcending the philosophical disenfranchisement of art, by releasing art from its alethic alienation and reversing the inured philosophical narrative that still defines the relationship between representation and truth and, in the process, leads to a potentially radical reevaluation of aesthetic value. (shrink)

This article examines Heidegger’s account of dwelling while placing it in the broad context of a wide array of his lectures and the constellation of his collected writings. The focus on this question is primarily ontological in character, in spite of the spatial significance of the phenomenon of dwelling, and the bearings it has on a variety of disciplines that interrogate its essence, be it in architectural humanities and design or in geography, which probe the various elements of its architectonic (...) and topological underpinnings. The investigation of Heidegger’s reflections on dwelling will be connected in this line of inquiry with his consideration of what he refers to as “the gathering of the fourfold,” namely as “earth, sky, mortals and divinities,” and the manner they are admitted and installed into “things,” all to be set against the background of his meditations on the origins of the work of art, and on the unfolding of the essence of modern technology as en-framing. (shrink)

1. Einleitung 2. Das Berühren im Buch Θ der Metaphysik 3. Berühren und praktisches Zu-tun-haben-mit 4. Der dreifache Sinn von Zeigen und die Wahrheit 5. Das Leiben. Anknüpfung zu dem späten Heidegger Bibliographie.

The following paper argues that J.G. Fichte, despite his apparent philosophical neglect of art and aesthetics, does develop a strong, original, and coherent account of art, which not only allows the theorization of modern, non-representative art forms, but indeed anticipates Nietzsche and Heidegger in conceiving of truth in terms of art rather than scientific rationality. While the basis of Fichte’s philosophy of art is presented in the essay “On Spirit and Letter in Philosophy,” it is not developed systematically either in (...) this text or anywhere else in his writings, but must be reconstructed through a broad consideration of all his works, including, above all, his political and economic writings. For Fichte, the art-work does not exist as an object possessing “aesthetic value” and which can, in turn, be possessed, consumed, and enjoyed through the subjective act of aesthetic experience. Rather, it involves a mode of praxis which, grounded in a radical and original power of imagination, creatively discloses possibilities for future forms of existence, experience, and political community that cannot be theoretically anticipated. While Fichte cannot himself theorize specific forms of art, since the art that concerns him belongs to the future, we can, however, retrospectively try to understand non-representational painting and non-mimetic dance as concrete realizations of Fichte’s art-work of the future. In this way, Fichte’s philosophy of art ultimately suggests an alternative to Heidegger’s understanding of the work of art as a projective institution of truth. Fichte suggests that the human body, rather than human language, is the fundamental medium of art. (shrink)

The sacred has survived where religion has not. The sacred is acknowledged by prominent atheists and agnostics. They emphatically agree that the person is sacred and less clearly that nature is as well. Closer examination of their remarks shows that today the sacred comes in two versions, the rightful sacred, best known under the heading of human rights, and the graceful sacred of concrete reality?things and practices of nature and art particularly. The division of the sacred into its rightful and (...) graceful versions (a division that is mirrored in the distinction philosophers make between the right and the good) is the crucial cultural event of the modern era. The two are distinct at least and sometimes thought to be incompatible. Yet they can and must be reconciled and seen as complementary?a general requirement of human well-being. And for a Christian like me they find their perfect union in the truly sacred person?God. (shrink)

RESUMO O presente artigo pretende explorar um tema ainda incipiente na literatura secundária referente ao estatuto do direito em Giorgio Agamben e ao peso do direito romano em seus trabalhos. Para isso lançamos mão do debate entre Agamben e Yan Thomas, um importante historiador do direito romano com quem Agamben teve um contato bastante intenso. Ao longo do artigo pretenderemos mostrar três coisas: em primeiro lugar, a relação de Agamben com a biopolítica, destacando, sobretudo, o aspecto articulatório da noção de (...) dispositivo que subjaz suas investigações. Em segundo lugar, a importância do ensaio Vita necisque potestas de Yan Thomas, que servirá para Agamben introduzir diferenças em relação a Hannah Arendt e Michel Foucault. Por fim, lançaremos luz sobre o estatuto do direito no pensamento de Agamben, que, é a nossa hipótese, comunga da visão thomasiana: o direito não seria uma realidade metafísica ou substancial, mas funcionaria por meio de artifícios e ficções, o que nos permite pensar o direito enquanto um autêntico dispositivo biopolítico. ABSTRACT This article intends to explore a still incipient theme in the secondary literature regarding the status of the law in Giorgio Agamben and the weight of Roman law in his works. To this end, we have used the debate between Agamben and Yan Thomas, an important historian of Roman law with whom Agamben had a very intense contact. Throughout the article we will show three things: firstly, the relationship between Agamben and biopolitics, emphasising the articulatory aspect of the notion of apparatus which underlies his investigations. Then we will point out the importance of the essay Vita necisque potestas by Yan Thomas, which will serve for Agamben to introduce differences in relation to Hannah Arendt and Michel Foucault. Finally, we will shed light on the statute of law in Agamben’s thought, which is our hypothesis, communes with the Thomasian view: law would not be a metaphysical or substantial reality, but would work through artifice and fiction, which enables us to think the law as an authentic biopolitical apparatus. (shrink)

The present article aims to illuminate a notion of finite freedom in both Heidegger and Levinas. Levinas criticizes the Heideggerian ontology for holding an egoistic, unconstrained notion of freedom. The article first responds to such a criticism by showing that the Heideggerian notion of freedom as self-binding involves normativity. It then argues that both Heidegger and Levinas propose a notion of finite freedom as the unity of autonomy and heteronomy. Finally, the article also sheds light on what different approaches to (...) the source of normativity separate the two philosophers’ understandings of freedom. (shrink)

While Heidegger's earlier phenomenological writings inform much contemporary discourse in the continental philosophy of religion, his 1927 essay on ‘Phenomenology and Theology’ offers a largely uncontested distinction between philosophy and theology on the basis of their possibilities as sciences following ontological difference. This paper reconsiders Heidegger's distinction by invoking spirit and wonder, concepts Jacques Derrida and Mary-Jane Rubenstein have more recently emphasized as central to thought that is open to that which ruptures metaphysical schemas. I contend Heidegger's use of ontological (...) difference as a formal distinction between philosophy and theology distances us from the wonder, spirit, and truth (alētheia) that undoes the binaries behind which we take shelter. However, I temper this critique with the recognition that Heidegger, Derrida, and Rubenstein equally recognize an inescapable repetition of metaphysical thinking in the philosophy of religion. (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)

resumo: Pretende-se discutir a relação entre arte, filosofia, poesia e técnica na construção de uma “história do ser”, tal como esta progressivamente se constrói na obra de Martin Heidegger, sobretudo em seus escritos a partir de meados da década de 1930. abstract: The aim of this work is to discuss the relationship between art, philosophy, poetry and technique in the so-called “history of being”, as the latter is gradually built in the work of Martin Heidegger, particularly in his writings since (...) the mid-1930s. (shrink)

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)

ABSTRACT This article is written in the field of the philosophy of science. The aim is to express how painting and drawing can be used as part of a phenomenological research method. The painter or drawer is a visual researcher in the process of capturing a holistic and truthful experience of a cultural phenomenon. We will highlight the visual researcher process and how the experience of truth is known throughout this process. The paining and sketches, which we present in this (...) article, are part of a book, together with written narratives and pedagogical theory – on teaching as a phenomenon – called Lærerpraksis og Pedagogisk teori. The paintings and drawings present teaching in a way that complements and expands the written text. The sketches and painting of teaching attempt to establish the truth as unconcealment of a phenomenon. Our argumentation is based on the theories of Gadamer, Cassirer, Panofsky and Heidegger. Gadamer connects humanistic research with artistry and the experience of truth. Cassirer argues that the perception of a cultural phenomenon begins as a holistic understanding to bring forth the symbolic form or essence of the phenomenon. Panofsky transfers the theory of Cassirer into the field of painting. The concept of synthetic intuition is the intrinsic knowing of a painting, which corresponds to Cassirer’s concept of symbolic forms. Heidegger’s theory explores how art unfolds and preserves the truth. We will argue that the connection between art and truth could bring forth important perspectives on phenomenological science and turn the research activity closer to an artistic form. (shrink)

El objetivo de este artículo es estudiar el Curso de Xavier Zubiri de 1975 Reflexiones sobre lo estético a la luz de la “noología”, horizonte de pensamiento que el autor español dejó planteado al final de su vida. Allí lo estético cobra otra dimensión en su estudio al vincular las tres esferas de la noología: la aprehensión primordial de la realidad, el logos sentiente y la razón sentiente. A partir de estas tres categorías cardinales, vemos lo estético en un primer (...) nivel de la aprehensión misma, otro segundo nivel en donde lo estético se diseña y son las artes las que expresan lo fruitivo de la realidad y por último, un tercer nivel que son las obras de arte propiamente dichas. (shrink)

In this paper I investigate the relationship between T.W. Adornos general aesthetic theory and his actual view on contemporary art. Adornos view on art is centered around concepts like praxis, matter and critique: Fine art is supposed to make it obvious that any understanding of matter always in some way is inadequate. Praxis is always grounded on an understanding of matter, but in hiding this fact it becomes ideological and repressive. The fine arts have to make this visible – they (...) have to criticize the given praxis. This leads him to reject very big areas of the actual contemporary art – e.g. the music of Igor Strawinsky. I will show that this rejection springs from Adornos view on matters that turns out to be too narrow: His view on matter is too physicalistic. He focuses on the fact that Strawinskys music on the pure audible level is not as radical as for example Schoenbergs music. In this critique I think he overlooks that the music material is not just the audible sound. Strawinskys music appears as new - but only if one realizes how history is part of its material. Adornos being unaware of this leads to a modification (through Heidegger and Strawinsky) of his (and the general marxist) concept of history: The marxist (romanticist) view on history as being one-dimensional shows to be repressive! Adornos own methodology (the negative dialectics) therefore demands a modication of his own view on history – and also of his view on contemporary arts. (shrink)