This study examines German educational philosopher Otto Friedrich Bollnow’s (1903–1991) existential-hermeneutic theory of discontinuous forms of education, unstetige formen der Erziehung. At the core of this theory is a view of human being subjected to education that appears disruptive and critical, influencing the development of disclosing the true powers of a person and unfolding of truths about oneself that could not be uncovered otherwise. Typically, this theory has been interpreted on the continuum of hermeneutic philosophy, as hermeneutic pedagogy with an (...) extension of Martin Heidegger’s fundamental ontology, antisubjectivism and especially his theory of truth as unconcealment. According to this line of interpretation, Bollnow’s project brings an existential addition to classical pedagogical theories, as a level of appealing pedagogy. According to this existentialist view, education in a strict sense cannot really take place: it could not affect the true core of a person, nor this person could be subjected under any pedagogical influence in any meaningful way. The only task left for education is to appeal to the conscience of an already autonomous person. However, in this study it is claimed that this line of interpretation falls short to the fact that Bollnow’s philosophy of education builds heavily on his overall philosophical-anthropological project, which springs from Kant’s first critique and especially, as shown in this work, from Edmund Husserl’s transcendental phenomenology. The study shows, that Bollnow’s discontinuous forms of education are not resulted from hermeneutic educational reality, with an extension of existential potentiality to authenticity of a person. In fact, one could not derive such a view from mere hermeneutics. Instead, what Bollnow’s structural view of educational reality indicates, is that it should be understood as a phenomenological description of a priori categorical structures. It is claimed in the work, that the discontinuous forms are the products of phenomenological reduction. They are derived from the direct experience within consciousness, from the essence of what is experienced, from the very nature of what is it like to be in a process of becoming human. From this perspective, from the subject-point, education cannot be described as a paradox of freedom and restriction between educator and educatee, nor transmission of culture between generations, but instead could be described as the subjective experience of being educated or educating oneself, disclosing oneself to oneself, which is constituted only by the necessary conditions of these subjective experiences of discontinuity. (shrink)

If, as Maurice Merleau-Ponty writes, “True philosophy consists in relearning to look at the world,” and if Merleau-Ponty is accordingly often described as a philosopher of the body or a philosopher of painting, how are we to understand the apparently new turn to music that Merleau Ponty makes toward the end of the final completed chapter, entitled “The Intertwining—The Chiasm,” of The Visible and the Invisible? I argue that the course of the “Chiasm” chapter moves from a concern for the (...) reciprocal intertwining of body and world to a concern for the Ineinander of temporality. Thus, there are two dimensions involved in forming Merleau-Ponty’s chiastic structure of the flesh: the fecundity of the sensible world in the dimension of simultaneity and the transcendence of the subject in the dimension of succession. The aim of this article is to explore the part of this structure that pertains to the temporal movement of transcendental intersubjectivity. Focusing on Merleau-Ponty’s adaptation of Husserl’s term, Ineinander, I trace the musical context of the term from Merleau-Ponty’s course notes, “Philosophie aujourd’hui” to the final passages from the “Chiasm” chapter of The Visible and the Invisible, understanding the Ineinander as it pertains to the relation of past and present. Contrary to the overflowing sense of presence experienced by the body in the world, the Ineinander is characterized by succession—by the écart—and finds its natural expression in the movement of music. Thus, the chiastic structure at the heart of Merleau-Ponty’s philosophy of the flesh expresses not only the immersion of a body in the world that sees; it expresses also, as that which is no longer and that which is to come, a creative, melodic movement of time. (shrink)

In this paper I analyze Leonard Lawlor’s strategy of inheriting from the tradition, highlighting the way he traces and amplifies a series of conceptual transformations that take place across twentieth-century continental philosophy. Focusing on the particular movement from metaphysics to ethics enacted in From Violence to Speaking Out, I raise three concerns regarding Lawlor’s ethics of “the least violence,” arguing that there is a problem with a quantitative understanding of this notion, that the quality of potentiality attributed to it needs (...) more clarification, and that Lawlor’s proposal of a radical letting be has more dangers than he seems to realize. (shrink)