Thus Plotinus (what is his status in the history of metaphysics and in the "Platonic" era, if one follows Heidegger's reading?), who speaks of presence, that is, also of morphē, as the trace of nonpresence, as the amorphous (to gar ikhnos tou amorphous morphē). A trace which is neither absence nor presence, nor, in whatever modality, a secondary modality.In his reading of Heidegger in his 2003 seminar, published as The Beast and the Sovereign, Derrida is particularly troubled by one particular (...) aspect of Heidegger: Heidegger's "superabundant use" of the language of Walten.1 "As you see," Derrida writes of Heidegger's use of Walten, "late in my life of reading Heidegger, I have just discovered a word that seems to .. (shrink)

In the field of phenomenology philosophers more and more frequently show interest in early Christian thought – including apophatic theology – which, in result, affects the understanding of the role and significance of art. „Invisibility” in art and the manifestation of God through the work of art is a mystery which cannot be satisfactorily explained by traditional philosophical aesthetic models. Negative theology, together with its key apophatic way brings a new perspective of understanding art into contemporary aesthetic debates. Its 'reductive' (...) application can be found especially in the theory of the icon. Paweł Florenski's icon analysis and Jean-Luc Marion's category of the ‘saturated phenomenon’ converge in many points. Henry Dume ry’s henological reduction which is complementary to, but at the same time exceeds Edmunda Husserl's reductions, extends the horizon of the 'invisible' dimension of art by the relation the Spirit (intelligibility) makes with Transcendence. In the article I will show the cohesion of contemporary phenomenological thought, early Christian apophatics and the theory of the icon. I will also consider whether an aesthetic and theological framework so structured could be valid and useful as a general philosophical theory of art. (shrink)

The article first gives an exegesis of the famous passage in the "Republic", 505d11-506a2. Attention is drawn to the fact that the principle that every soul does everything for the Good can be translated in two ways: Every soul does everything for the sake of the Good, or goes to all lengths for the sake of the Good. Depending on the different translations, we have a different picture of the platonic Socrates in the Republic, an intellectualistic Socrates for whom irrational (...) desires do not exist, or a Socrates who also accepts irrational desires. The article favours the first one. Then it attempts to show that we can elucidate some dark points in the Socratic thesis that the Good is what every soul pursues and for which every soul does everything, with the help of Aquinas’s distinction between it actio hominis and actio humana. Finally, the article outlines three substantive answers to the question “What is the Good?” – the henological, the perfectionist and the structuralist. Instead of advancing a new answer, the article suggests an uncontroversial formal starting point for an answer to this question. (shrink)

The principle of performative contradiction. On the epistemological significance of the dialogue form in Plato's "Euthydemus". - In this study, an analysis of the section 285d-288a of Plato's "Euthydemus" shall show two things: (1) The sophistic model of a world in which there is no contradiction, in which every linguistic utterance is true and every action correct, has no semantic inconsistencies, but can only be rejected with the help of the principle of performative contradictions. (2) It is precisely these performative (...) contradictions that make it necessary for Plato to philosophize not in treatises but in dialogues; in other words, that the philosophical relevance of the Platonic form of dialogue can be seen, among other things, in the fact that - in contrast to philosophical forms of representation such as the treatise, the essay, and a henology as reconstructed and represented by the Tübingen School - it permits the representation of performative reflections and performative contradictions. (shrink)

The article first (i) gives an exegesis of the famous passage in the Republic, 505d11-506a2. Attention is drawn to the fact that the principle that every soul does everything for the Good (panta prattei) can be translated in two ways: Every soul does everything for the sake of the Good, or goes to all lengths for the sake of the Good. Depending on the different translations, we have a different picture of the platonic Socrates in the Republic, an intellectualistic Socrates (...) for whom pure irrational desires do not exist, or a Socrates who also accepts irrational desires. The article favours the first picture. Then it (ii) attempts to show that we can elucidate two dark points in the Socratic thesis that the Good is what every soul pursues and for which every soul does everything, with the help of Aquinas. Finally, the article (iii) outlines three substantive answers to the question ``What is the Good?'' - the henological, the perfectionist and the structuralist - and shows that these three answers lead into a trilemma. Instead of advancing a new answer, the article suggests an uncontroversial formal starting point for an answer to this question. (shrink)

A comprehensive reading of Heidegger's work from the mid-1930s to the 1960s that seeks to develop an ecological thinking rooted in reflections on the Heraclitean 'hen', relationality, and the impossibility of totality. An elaboration of the structural homology between Heidegger's use of the terms 'Technik' and 'metaphysics' sets the stage for his later work or topology. The Spätwerk is presented as an irresolvable polarity between 'Technik' and 'Ereignis', between a totalizing movement and a movement of disruption. This serves as the (...) basis for reflections on human experience of and as the ecological. Nature as Limit serves as a contribution to both eco-philosophy and to philosophical methodology more broadly, with philological and hermeneutic excursions that engage the relationship between language and the ecological motifs being developed in the work. (shrink)