This volume consists of the first of the John Dewey Lectures delivered under the auspices of Columbia University's Philosophy Department as well as other essays by the author. Intended to clarify the meaning of the philosophical doctrines propounded by Professor Quine in 'Word and Objects', the essays included herein both support and expand those doctrines.

In this book, the author presents an interpretation of four thinkers: Nietzsche, Heidegger, Foucault, and Derrida. In an attempt to place these thinkers within the wider context of the crisis-oriented modernism and postmodernism that have been the source of much of what is most original and creative in twentieth-century art and thought.

Poetic Interaction presents an original approach to the history of philosophy in order to elaborate a fresh theory that accounts for the place freedom in the Western philosophical tradition. In his thorough analysis of the aesthetic theories of Hegel, Heidegger, and Kant, John McCumber shows that the interactionist perspective recently put forth by Jürgen Habermas was in fact already present in some form in the German Enlightenment and in Heidegger's hermeneutic phenomenology. McCumber's historical placement of the interactionist perspective runs counter (...) to both Habermas's own views and to those of scholars who would locate the origin of these developments in American pragmatism. From the metaphysical approaches of Plato and Aristotle to the interactionist approaches of Habermas and Albrecht Wellmer, McCumber provides an original narrative of the history of philosophy that focuses on the ways that each thinker has formulated the relationships between language, truth, and freedom. Finally, McCumber presents his critical demarcation of various forms of freedom to reveal that the interactionist approach has to be expanded and enlarged to include all that is understood by "poetic interaction." For McCumber, freedom is inherently pluralistic. Poetic Interaction will be invaluable to political philosophers, historians of philosophy, philosophers of language, and scholars of legal criticism. (shrink)

In his “Marxism and the Post-Modern Condition” Raulet examines the relation between modernity, post-modernity, and the aesthetics of the sublime. I would like to make a modest clarification. Raulet argues that I counterpose the Kantian sublime, which is based on incommensurability of powers [Vermögen], to the Hegelian dialectic which totalizes them. Thus I place myself in a position of being able to oppose totalitarianism only by means of a politics of terror. Both equations (speculative discourse = totalitarianism; and philosophy of (...) the sublime = terrorism) need to be dissolved. Let us briefly recall the objections to these equations. (shrink)

Kant describes a conflict among the different theories of knowledge. A productive conflict whose emergence is the origin of a renewal: it awakens the spirit and it leads it to think critically. Philosophy becomes critique, Kant says, when it is not focused on the doctrines and on their demands, but on the relationship between general rules (the “sense”) that coordinates all the faculties – and their particular expression, that is to say the specific cases. Similarly operates the judge, that, in (...) court, has to invent (ausdenken) the rule capable of corresponding to the single case: a judge that, in order to decide (jus dicere) and utter the decision, tries to compensate the absence of adequate legal rules and often decides without the adapt general rule. The problem of the différend does not concern, thus, anthropology. It concerns language. Exemplary cases provide analoga of the sensitive data and are devices that allow the dialectic between different systems of value by connecting their core meaning, the proper names involved and what Kant defines the Darstellung. Nevertheless, against this background, a change of paradigm becomes necessary – a change that entails the break with hegelian philosophy of law and with a thought built on mediation, that is to say with the kantian Zusammenstimmung. It is not possible, nor desirable, to substitute the battle field with the court and to subordinate the individual interests to the general logic of argumentation, because the synthesis of the different voices might imply totalitarianism and the end of the différend might correspond to the beginning of terror. (shrink)

He uses the novel strategy of presenting Heidegger's critique of Hegel and then suggesting the critique of Heidegger that Hegel might have made.

This book offers an introduction to the Sophists of fifth-century Athens and a new overall interpretation of their thought. Since Plato first animadverted on their activities, the Sophists have commonly been presented as little better than intellectual mountebanks - a picture which Professor Kerferd forcefully challenges here. Interpreting the evidence with care, he shows them to have been part of an exciting and historically crucial intellectual movement. At the centre of their teaching was a form of relativism, most famously expressed (...) by Protagoras as 'Man is the measure of all things', and which they developed in a wide range of views - on knowledge and argument, virtue, government, society, and the gods. On all these subjects the Sophists did far more than simply provoke Plato to thought. Their contributions were substantial and serious; they inaugurated the debate on many central philosophical questions and decisively shifted the focus of philosophical attention from the cosmos to man. (shrink)

Until very recently, little attention has been paid to folklore, peasant history and French ethnology. After the 1970s, however, French folk traditions have become fashionable. Almost every French cultural institution has devoted time and money to promoting this “new” knowledge. Previously, French folklore and ethnology were considered the poor relatives in the social sciences. But then the Ministry of Culture sanctioned a social movement which had arisen in the early 1960s by creating a directorship and Committee for the patrimony to (...) promote research on popular traditions, the development of ecomuseums, and local campaigns to revive craftsmen's songs and popular theater. (shrink)

Arthur Schopenhauer ranked the several arts in a hierarchy, with literary and dramatic arts at the top, music soaring in a separate even higher heaven, and architecture sinking to the ground under the weight of beams and bricks and mortar.1 The governing principle seems to be some measure of spirituality, with architecture ranking lowest by vice of being grossly material.Nowadays such rankings are taken less seriously. Traditional ideologies and mythologies of the arts are undergoing deconstruction and disvaluation, making way for (...) a neutral comparative study that can reveal a good deal not only about relations among the several arts2 but also about the kinships and contrasts between the arts, the sciences, and other ways that symbols of various kinds participate in the advancement of the understanding.In comparing architecture with the other arts, what may first strike us, despite Schopenhauer, is a close affinity with music: architectural and musical works, unlike paintings or plays or novels, are seldom descriptive or representational. With some interesting exceptions, architectural works do not denote—that is, do not describe, recount, depict, or portray. They mean, if at all, in other ways.On the other hand, and architectural work contrasts with other works of art in scale. A building or park or city3 is not only bigger spatially and temporally than a musical performance or painting—it is bigger even than we are. We cannot take it all in from a single point of view; we must move around and within it to grasp the whole. Moreover, the architectural work is normally fixed in place. Unlike a painting that may be reframed and rehung or a concerto that may be heard in different halls, the architectural work is firmly set in physical and cultural environment that alters slowly. 1. See Bryan Magee, The Philosophy of Schopenhauer , pp. 176-78. Nelson Goodman, emeritus professor of philosophy at Harvard University, is the author of, among other works, The Structure of Appearance, Languages of Art, Ways of Worldmaking, and Of Mind and Other Matters. His previous contributions to Critical Inquiry are “The Status of Style” , “Metaphor as Moonlighting” , “Twisted Tales; or, Story, Study, and Symphony” , “The Telling and the Told” , and “Routes of Reference) Autumn 1981). (shrink)

With the publication of Theorie des kommunikativen Handelns (1981) and of his essays “A Reply to my Critics” (1982), “Diskursethik — Notizen zu einem Bugründungsprogramm” (1983), “Moralbewusstsein und kommunikatives Handeln” (1983), and “Über Moralität und Sitdichkeit — Was macht eine Lebensform ‘rational’?” (1984), Habermas has considerably developed and systematized his views on ethics. Up to Communication and the Evolution of Society (1979), ethics had been of interest to Habermas mainly insofar as certain concepts related to it — such as the (...) ideal speech situation, communicative action, presuppositions of argumentation, etc. — were crucial for the purpose of grounding a universalistic point of view in philosophy and in social theory. (shrink)

Identity and Difference consists of English translations and the original German versions of two little-known lectures given in 1957 by Martin Heidegger, "The Principle of Identity" and "The Onto-theo-logical Constitution of Metaphysics.

With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.

With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.

"One of the major works in the development of contemporary criticism and philosophy." -- J. Hillis Miller, Yale University Jacques Derrida's revolutionary theories about deconstruction, phenomenology, psychoanalysis, and structuralism, first voiced in the 1960s, forever changed the face of European and American criticism. The ideas in De la grammatologie sparked lively debates in intellectual circles that included students of literature, philosophy, and the humanities, inspiring these students to ask questions of their disciplines that had previously been considered improper. Thirty years (...) later, the immense influence of Derrida's work is still igniting controversy, thanks in part to Gayatri Spivak's translation, which captures the richness and complexity of the original. This corrected edition adds a new index of the critics and philosophers cited in the text and makes one of contemporary criticism's most indispensable works even more accessible and usable. (shrink)

Das Zeitbewusstsein der Moderne und ihr Bedürfnis nach Selbstvergewisserung -- Hegels Begriff der Moderne -- Drei Perspektiven, Linkshegelianer, Rechtshegelianer und Nietzsche -- Eintritt in die Postmoderne -- Die Verschlingung von Mythos und Aufklärung -- Die metaphysikkritische Unterwanderung des okzidentalen Rationalismus -- Überbietung der temporalisierten Ursprungsphilosophie -- Zwischen Erotismus und allgemeiner Ökonomie -- Vernunftkritische Entlarvung der Humanwissenschaften -- Aporien einer Machttheorie -- Ein anderer Ausweg aus der Subjektphilosophie -- Der normative Gehalt der Moderne.

Nazi Party records show that Martin Heidegger was an active member up to 1945. Discusses Heidegger's activities at the University of Freiburg and reveals that his resignation from the post of rector in 1934 was a result of factional struggles within the Nazi Party. During his rectorate, Jewish instructors were expelled and the teaching of race theories instituted. However, Heidegger defended two Jewish professors against expulsion because of their scientific achievements. His first article (1910) was written in honor of the (...) 17th century Austrian court preacher Abraham a Santa Clara, a violent antisemite. Heidegger's early writings show a progressive articulation of authoritarian, antisemitic, and extreme nationalist thought. He adopted Nazism out of conviction, not opportunism, and even after 1945 continued to justify its philosophic essence. In 1964 he published another article praising Abraham a Santa Clara (without referring directly to his antisemitism). (shrink)

Uses the architectural design of a house to show the principles of structuralism and a possible reaction against traditional functionalism.

Combining exemplary scholarship and analytic precision, Stanley Rosen illuminates the underpinnings of post-modernist thought, providing valuable insight as he pursues two arguments: first, that post-modernism, which regards itself as an attack upon the Enlightenment, is in fact the penultimate stage of the Enlightenment itself; and second, that the extraordinary contemporary emphasis upon hermeneutics is the latest consequence of the triumph of history over mathematics within the unstable essence of the Enlightenment. Hermeneutics is consequently at bottom a political phenomenon. In developing (...) these arguments, Rosen demonstrates the paradigmatic status of Kant for a proper understanding of post-modernism, analyzes Derrida's influential critique of Platonism as well as his defense of writing, explains the political dimension of the quarrel between the ancients and moderns by studying the hermeneutics of Leo Strauss and Alexander Kojhve, and shows how the modern notion of "theory" is intrinsically relativized by the triumph of history over mathematics into the notion of interpretation. A wide-ranging exploration into current critical thinking, Hermeneutics as Politics will generate considerable debate among scholars interested in post-modernism, the Enlightenment, hermeneutics, the relation of philosophy and politics, deconstruction, and the history of philosophy. (shrink)

"There is no rigorous and effective deconstruction without the faithful memory of philosophies and literatures, without the respectful and competent reading of texts of the past, as well as singular works of our own time. Deconstruction is also a certain thinking about tradition and context. Mark Taylor evokes this with great clarity in the course of a remarkable introduction. He reconstitutes a set of premises without which no deconstruction could have seen the light of day." – _Jacques Derrida __"This invaluable (...) philosophical sampler brings together many of the threads out of which deconstruction is woven. taylor's anthology does not make deconstruction easy; much more usefully, it provides a meticulous guide to the sources – and significance – of the difficulties. – Barbara E. Johnson _"The book will be of great value as a set of readings with authoritative explanation for all those interested in the current relations of literature and philosophy. It is the best book of its kind I know. – _J. Hillis Miller, Yale University_. (shrink)

This is a volume of new essays introducing the most influential developments in social and political theory over the last thirty years. In that period empiricism and the positivist ideal of the unification of science have been undermined and transformed by the impact of different, frequently Continental, traditions of thought. The introduction charts these charges and each of the contributors provides a brief and lucid account of the thought of one major figure or school which have helped to bring about (...) these changes. Those discussed include Althusser, Derrida, Foucault, Gadamer, Habermas, Kuhn, Levi-Strauss, Rawls and the Annales historians. Each essay has suggestions for further reading and a useful general bibliography is provided at the end of the volume. (shrink)

For the past thirty years, Hal Foster has pushed the boundaries of cultural criticism, establishing a vantage point from which the seemingly disparate agendas of artists, patrons, and critics have a telling coherence. In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that (...) situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs. (shrink)

"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger--each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book--a source of true illumination for those prepared to follow his (...) arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."--Alexander Gelley, Library Journal. (shrink)

Describes the return to a new classical style within art and architecture. Includes 350 illustrations of paintings, sculpture, and architecture.

_Five Faces of Modernity_ is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: _modernity_, _avant-garde_, _decadence_, _kitsch_, and _postmodernism_. The concept of modernity—the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours—is a relatively recent Western invention and one whose time may already have passed, if (...) we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. _Five Faces of Modernity_ attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as _classicism_, _baroque_, _romanticism_, _realism_, or _symbolism_ and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity. (shrink)

Reality and its shadow -- Freedom and command -- The ego and the totality -- Philosophy and the idea of infinity -- Phenomenon and enigma -- Meaning and sense -- Language and proximity -- Humanism and an-archy -- No identity -- God and philosophy -- Transcendence and evil.