This chapter contains sections titled: Spinoza and the Passionate Imagination Leibniz and the Logic of Imagination Wolff and the Scholasticism of Imagination Conclusion.

This article emerges out of the dialogue and exchange between critical realism and integral theory. It is a contribution to and within critical realist discourse, philosophically underlabouring for the senses of the good and goodness with a metaReality schema, arguing for, in performing the necessity of, the intimate intertwining of transcendental and phenomenological methods. One implication of the study is the recontextualizing of the singular philosophical status of the axiology of freedom.

This essay explores the various ways in which in the history of philosophy the imperative to return to nature has been understood. Against this background, it takes up the question as to how the concept of nature is to be determined in contemporary thought.

ABSTRACT A review of Songs of Nature, a study by John Sallis of the landscapes of the modern Chinese artist Cao Jun, with philosophical emphases on the notion of landscape, this analysis widens out to a relevance to all creative work. It homes in on the comparative or intercultural overlap between Western and Eastern traditions. as well as that between painting and music and the other senses. The focus is on the elemental. Art is at base a return to nature (...) with earth and sky as the horizons of what it means to be human. (shrink)

In this paper, I explore a possible a/theological response to what Nietzsche called the ‘death of God’—or Hölderlin’s and Heidegger’s ‘flight of the gods’—through a juxtaposition of the Christian-Pauline concept of kenōsis and the ancient Greek-Platonic notion of chōra, and by taking Nishida Kitarō’s appropriations of these concepts as a clue and starting point. Nishida refers to chōra in 1926 to initiate his philosophy of place and then makes reference to kenōsis in 1945 in his final work that culminates—without necessarily (...) completing—his oeuvre. What he had thereby accomplished is an inversion of Platonism resulting in the collapse of the transcendent/immanent—idea/genesis and by implication the Heaven/Earth—dichotomy. I then unpack the ethical implication of this kenotic chōra Nishida has left us with. It suggests from us a certain response to the desacralization or secularization of the world. I shall build upon this suggestion and unfold its implications by drawing from a variety of sources, starting with Nishida but including others, such as Meister Eckhart, Martin Heidegger, Jacques Derrida, Emmanuel Levinas, Gianni Vattimo, Reiner Schürmann, Mark Taylor, Jürgen Moltmann, and other philosophical and theological sources. (shrink)

One of the most prominent notions in Heidegger’s thinking about art is that of the earth. This paper probes the phenomenological potential of Heidegger’s concept by turning to the work of contemporary British artist Andy Goldsworthy. Drawing from Heidegger’s theoretical writings as well as his analysis of a poem by C.F. Meyer in “The Origin of the Work of Art” and his 1936–37 seminar on Schiller, I show that Goldsworthy’s sculptural art exemplifies different phenomenal traits of the “earth.” To supplement (...) Heidegger’s discussion, both Husserl’s claim that the earth defines the “spatiality of nature” and the role of the earth in Hegel’s philosophy of nature are taken into account. (shrink)