Resumen: Siguiendo el hilo conductor de la pregunta sobre cómo se nos puede conceder un acceso a la poesía de Paul Celan, el artículo discute dos enfoques diferentes: por un lado, el de la experiencia hermenéutica de Hans-Georg Gadamer; por otro, el de la experiencia diseminal de Jacques Derrida. La intención de la confrontación de las posiciones opuestas respecto a la poesía de Celan no es ni examinar los supuestos y preposiciones de ambas posiciones ni impugnar la legitimidad de una (...) de ellas desde el punto de vista de la otra, sino establecer y evocar el sentido de la disensión, la significación del discernimiento entre ellas y, así, abrir un campo de posibilidad para ambas, para una hermenéutica y para una deconstrucción hoy; y a través de ello también, y sobre todo, un lugar y un tiempo para el poema de Celan, la posibilidad de escucharlo y oírlo, de convertirse en destinatario de su voz inter-(a)pelativa. Palabras clave “Du liegst”; Lenguaje hermético; Comprensión; H.G. Gadamer; J. Derrida // The Secret of the Encounter. Paul Celan’s Poetry between Hermeneutics and DeconstructionAbstract Following the guiding line of the question how an access to Paul Celan’s po-etry can be granted to us, the article discusses two different approaches: on the one hand, the hermeneutic experience of Hans-Georg Gadamer; on the other hand, the disseminating experience of Jacques Derrida. The intention of the confrontation of the opposing positions regarding Celan’s poetry is nei-ther to examine the suppositions and prepositions of both positions nor to contest the legitimacy of either of them from the viewpoint of the other, but rather to establish and evoke the sense of the dissention, the signification of the discernment between them and, thus, open up the field of possibility for both, for a hermeneutics and for a deconstruction today, and through it also, above all, a place and a time for Celan’s poem, the possibility to listen to it and to hear it, to become the addressee of its inter-(a)pellative voice. Keywords “Du liegst”; Hermetic language; Understanding; H.G. Gadamer; J. Derrida. -/- Este artículo fue traducido al español por Facundo Bey. (shrink)

Philosophers have not resisted temptation to transgress against the logic of their own conceptual structures. Self-undermining position-taking is an occupational hazard. Philosophy stands in need of conceptual therapy. The author describes three conceptions of philosophy: the narcissistic, disputatious, and therapeutic. (i) Narcissistic philosophy is hermetic, believing itself to contain all evidence that can possibly be relevant to it. Philosophy undertaken in this spirit has led to defensive, monadically isolated positions. (ii) Disputatious philosophies are fundamentally question-begging, animated by assumptions that (...) philosophical adversaries reject. (iii) The intention of therapeutic philosophy is to study philosophical positions from the standpoint of their internal consistency, or lack of it. In particular, its interest is in positions that either compel assent, because they cannot be rejected without self-referential inconsistency, or self-destruct because self-referential inconsistency cannot be avoided. The article's focus is on the latter. Several examples of self-undermining positions are drawn from the history of philosophy, exemplifying two main varieties of self-referential inconsistency: pragmatical and projective. (shrink)

[Proofs; please cite published version] In recent years, some prominent scholars have been making a surprising claim: examining literary texts for hidden depths is overblown, misguided, or indeed downright dangerous. Such examination, they’ve warned us, may lead to the loss of world Heidegger warned of (Gumbrecht), to the world-denying metaphysics Nietzsche warned of (Nehamas), or to the suspicious form of hermeneutics Ricoeur warned of (Best, Marcus, Moi). This paper seeks to suggest that, though the concerns are understandable, there’s ultimately nothing (...) to worry about. The fact that Nietzsche himself happily used metaphors of surface and depth suggests that they are not, in fact, metaphysically fraught. The fact that it’s possible to appreciate surfaces at the same time as depths means that there’s no real danger of losing the world. And as for depth-talk turning us into suspicious hermeneuts, that would happen only if we made two fallacious assumptions: first, that all depths are meanings; second, that all hidden features are in a text by accident. But since plenty of authors hide things deliberately, and since what’s hidden often has nothing to do with propositional content, both assumptions are profoundly mistaken. Meanwhile, the surface/depth metaphor is the only thing that adequately captures the phenomenology of reading, especially when it comes to misdirection-based, hermetic, enigmatic, ironic, or satirical texts, where special activity on our part prompts a sudden leap to a radically different mode of understanding. And unlike its rivals, the surface/depth metaphor reflects a real asymmetry: depths explain surfaces, but not vice versa; surfaces are available without depths, but not the other way around. We need the metaphor, and we need to stay open to hidden depths as we read. As long as we don’t come in with terrible assumptions, nothing bad will happen to us, and plenty of good things will. It’s perfectly safe to go back in the water. (shrink)

Agrippa was the main expounder of the occult philosophy, which is the knowledge of the hidden causes of things and is finalized to their manipulation by magic. Magic, in turn, is the highest form and the end of philosophy. According to his De occulta philosophia, magic is threefold: natural (concerning sublunar world), celestial (concerning stars and heavenly intelligences), and divine (concerning God and higher angels). It consists of the manipulation of concrete objects and of the summoning of intelligences and God, (...) which is performed on the basis of the precepts of the Kabbalah. Agrippa’s overall aim was to purify magic from its necromantic and irrational components: this would enable the restoration of the prelapsarian condition of man (in accordance with the Hermetic ideal of deification) and a Christian reform of culture. The critique of philosophical knowledge and of every science, presented in Agrippa’s De vanitate, and his critique to the subordination of woman typical of Scholastic theology, contained in the De nobilitate foeminei sexus, are functional to these ends. (shrink)

From the Editor’s Introduction: "The Internal Limitations of Human Understanding." We carry, unavoidably, the limits of our understanding with us. We are perpetually confined within the horizons of our conceptual structure. When this structure grows or expands, the breadth of our comprehensions enlarges, but we are forever barred from the wished-for glimpse beyond its boundaries, no matter how hard we try, no matter how much credence we invest in the substance of our learning and mist of speculation. -/- The limitations (...) in view here are not due to the mere finitude of our understanding of ourselves and of the world in which we live. They are limitations that come automatically and necessarily with any form of understanding. They are, as we shall see, part and parcel of any organization or ordering of data that we call information. -/- The consequences of these limitations are varied: As a result of them, hermeneutics cannot help but be hermetic; scientific theories of necessity are circumscribed by the boundaries of the ideas that define them; formal systems must choose between consistency and comprehensiveness; philosophical study, because it includes itself within its own proper subject matter, is forced to be reflexive in its self-enclosure. The fundamental dynamic shared by all forms of understanding testifies to an internal limitative keystone. (shrink)

This book presents a phenomenological and hermeneutical research, where the body is taken both as fundamental ontological situation of human, as well as a language phenomenon, appearing in the dialectical tension between two Greeks notions – soma and sarx. The first of them is a becoming, hypostasizing entity, which in Aristotelian terms can be called dynamis (potentiality), while the second one, since it is a hypostasis, can be called energia (actuality). So the difference between them, using Heidegger’s terms, can be (...) seen as ontological one. One of the hypotheses of the research is that such a specifically divided body is a ground of mystical experience. Though as the examples provided here were mysticisms by Gregory Palamas and Meister Eckhart, they were interpreted as spectacular particularities of the broader, not only religious, phenomenon of mysticism. The latter is redefined here as a relation (including erotic one), based on meeting and co-action of two or more bodies etc. -/- This book is a phenomenological and hermeneutical research, where the body is presented both as fundamental ontological situation of human, as well as a language phenomenon, appearing in the dialectical tension between two Greeks notions – soma (the body) and sarx (flesh). The first of them is a becoming, hypostasizing entity, which in Aristotelian terminology can be called dynamis (potentiality), while the second one, since it is a hypostasis, can be called energia (actuality). Though the difference between them, using Heidegger’s terminology, can be presented as ontological. For one of the hypotheses of the research is that such a specifically divided body is a ground of mystical experience. Though as examples taken here were mysticisms by St Gregory Palamas and Meister Eckhart, they understood here as radical, but spectacular particularities of the broader (and essential for such a body) phenomenon of mysticism, which is redefined in this book as not only religious relation, based on meeting and co-action of two or more bodies, hermetic from the outside (so erotic relation also can be presented by this notion). (shrink)

Goethe, an important figure in 18th century German Freemasonry, developed a Masonic thought based on the assumptions of hermetic esotericism that influenced much of his poetic and scientific production. ===================Goethe importante figura della massoneria tedesca del XVIII secolo sviluppa un pensiero massonico fondato sui presupposti dell'esoterismo ermetico che influì su molta della sua produzione poetica e scientifica.

In his 1968 poetry collection „Fadensonnen“, Paul Celan offers a hermetic blend of existentialism and mysticism, which is unusual in two respects. Firstly, the European philosophy of existence, especially with its proponents Jean-Paul Sartre, Albert Camus and Martin Heidegger, had gone to great lengths to criticize and delegitimize the Abrahametic religions, for the concept of god seemed to be an obstacle to humanity in pursuit of its own humanization. Secondly, in the aftermath of the holocaust, the idea of man (...) wanting to merge with a god that had not prevented this cruelty from happening had lost much of its plausibility. Despite these two objections, Celan's poems address the struggle of togetherness in a world that negates the mere possibility of otherness, trying to salvage the unique identity and dignity of the other. With this in mind, the modus operandi of his poems is that of a butcher: Whatever has previously been alive – before the Shoah – now has to be stripped bare of its layers of individual and collective history, has to become less than body and flesh. In this way, the poems' inherent pain and misery transform the reader into a nobody, for only a nobody has got the prerequisites to encounter other people unbiasedly in their unique wholeness. Within this space of encounter, only the reminiscence of body and sexuality exists, commemorating the other, so that radical corporeality seems to be the prerequisite for togetherness. In this ahistorical sphere there is no room for a god that permitted the holocaust, redefining mysticism as the connection between men instead of one between man and god. Celan's poems act as a catalyst, for they exclude god from the spheres of man, making poetry a memorial site to the dead and the ones living in pain. This way, the poems are trying to save Eros (in the sense of creaturely love) from being mutilated by the crimes of European history while at the same time aiming at rehabilitating mankind in a post-holocaust world. (shrink)

This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality (...) in the game studies discourse. To counter this lack, this chapter draws upon philosophical work on space by Casey, Martin Heidegger, Yi-Fu Tuan and Christian Norberg-Schulz, using these as a conceptual lens to identify spatial structures and practices in digital games that diverge from the hermetic mode. Attention is paid to games that invite pausing and lingering in place, games where the player's relation to place is structured around practices of building, the phenomenology of home and dwelling in games, and familiarity and identity as experiential characteristics of being at home. Minecraft and Animal Crossing: New Leaf are examined in detail as case studies, though the chapter also refers to examples from other games. (shrink)

Lars von Trier's works give us always plenty of exquisite philosophical food for thought, mostly in very dense and hermetic language. 'Melancholia' , a 2011 movie, has been seen by us as a brilliant dramatization of Schopenhauer's and Nietzsche's philosophy (in an essay also available on PhilArchives). 'Antichrist', another movie of his from 2009, deploys a similar doom perspective regarding our times, now focusing the perpetual struggle between men and women as a leitmotiv. This brief review, however, does not (...) intend to go beyond an exposition of the mental structures which grounds both so different reactions: the husband's, and the wife's. (shrink)

Abstract (German) Dieses Buch faßt meine Forschungen zur Semiotik Giordano Brunos und zu deren Grundlagen in der Kosmologie und in der Gedächtnistheorie zusammen, wobei sowohl die Heterogenität als auch der Universalität des Denkers den Charakter dieses Buches geprägt haben. Es wird kein glattes Bild seiner Person oder seines Werkes angeboten, kein bejahender Jubel über eine epochale Leistung; wichtiger war mir die bis ins Detail gehende, manchmal mühselige Interpretation seiner Systementwürfe, wobei ich versucht habe, auch deren formales und technisches Niveau deutlich (...) zu machen. Nicht seine Weltanschauung soll dargestellt werden, sondern sein Versuch, eine Vielfalt von Detaillösungen in eine wohlproportionierte, wenn auch ins Unendliche reichende Wissensarchitektur zu integrieren. Als Startsignal mag folgende Frage dienen: Inwiefern ist Giordano Bruno Semiotiker? Der Philosoph Bruno wird von Jacobi als Beispiel spinozistischer Tendenzen wieder ins Gespräch gebracht; später wird er für die spekulative Naturphilosophie, die aus Kants Schatten heraustritt, z.B. für Schelling und Hegel, interessant, und schließlich wird er als Märtyrer der Freiheit von den Antiklerikalen im Risorgimento hochgehoben. Der Heroenkult um die „Kopernikanische Wende" weiß mit Bruno nichts anzufangen, er ist kein Naturwissenschaftler, wie man ihn sich im 20 . Jh . wünscht. Von Yates ( 1964 ) wird er als Hermetiker und Ahnherr der Rosenkreuzer entdeckt, und plötzlich soll er auch noch ein Semiotiker sein ? Die Etikette „Semiotiker" ist allerdings weniger riskant als jene früher an Bruno herangetragenen. Bruno ist Philosoph, in einem allgemeinen Sinn , insofern er alle wesentlichen Aspekte: metaphysische, natur philosophische, ethische, semiotische, poetologische zum Entwurf eines möglichst kohärenten Bildes vereint, und er ist ein Renaissance-Philosoph, d .h. das antike Erbe, besonders jenes in den orientalischen Tiefen der Kulturgeschichte (Ägypten und Chaldäer) ist sein Ausgangspunkt. Selbst den Entwurf des Copernicus versteht Bruno in erster Linie als eine Wiederentdeckung antiker Einsichten. Es gibt jedoch in Brunos Schaffen einen roten Faden: die Architektur unseres Wissens, das Gedächtnis der Kultur- und Wissensgemeinschaft und natürlich desjenigen, der wie Bruno dieses Wissen zu einer Synthese vereinigen will . Seine Philosophie versucht, wie jede große Philosophie, alles, was wir wissen und was wir daraus an weiterem impliziten Wissen erschließen können, in einer Einheit zu denken, und diese Einheit ist notwendigerweise nur als Zeichensystem (begrifflich, argumentativ, bildhaft, als imaginierte Welt) zu realisieren. -/- Abstract (English) This book summarizes my research on Giordano Bruno's semiotics and its foundations in cosmology and memory theory, whereby both the heterogeneity and the universality of the thinker have shaped the character of this book. No smooth picture of his person or his work is offered, no affirmative jubilation over an epochal achievement; What was more important to me was the sometimes laborious interpretation of his system designs, which went down to the last detail, and I also tried to make their formal and technical level clear. It is not his worldview that should be presented but his attempt to integrate various detailed solutions into a well-proportioned, albeit infinitely reaching, architecture of knowledge. The following question may serve as a starting signal: To what extent is Giordano Bruno a semiotician? Jacobi brings up the philosopher Bruno again as an example of Spinozist tendencies; later, he becomes important for the speculative natural philosophy emerging from Kant's shadow, e.g., for Schelling and Hegel. He is finally extolled as a martyr of freedom by the anticlericals in the Risorgimento. The hero cult around the "Copernican turn" does not know what to do with Bruno; he is not a natural scientist as one would wish in the 20th century. Yates (1964) discovered him as a hermetic, even an ancestor of the Rosicrucians. The etiquette "semiotic" is certainly less risky than the associations that Bruno used to have. Bruno is a philosopher, in a general sense, in that he combines all the essential aspects: metaphysical, natural philosophical, ethical, semiotic, poetological to project a picture that is as coherent as possible, and he is a Renaissance philosopher, i .e . the ancient heritage, especially that in the oriental depths of cultural history (Egypt and Chaldeans) is his starting point. Bruno sees even the draft of Copernicus primarily as a rediscovery of ancient insights. However, there is a common thread in Bruno's work: the architecture of our knowledge, the memory of the cultural and knowledge community and, of course, of those who, like Bruno, want to unite this knowledge into a synthesis. His philosophy, like every great philosophy, tries to think of everything that we know and what we can deduce from it as further implicit knowledge as a unit, and this unit is necessarily only available as a system of signs (conceptual, argumentative, pictorial, as an imagined world). to realize. (shrink)

Um mistério revelado, entre magia, alquimia e filosofia.

The article presents another of those ingenious mind, rebels to the yoke of religion, typical of the Italian Renaissance. Converted to Calvinism and therefore condemned to death by the Inquisition, Guglielmo Grataroli (1516-1568) became a defender of heterodox doctrine. His translation of a report of the Waldensian massacre in Calabria became part of the history of Protestant martyrs. He was the author of numerous treatises on various subjects, for which he widely used the works of Giovanni Michele Alberto da Carrara, (...) Antoine Mizauld and Gerolamo Cardano. The perfect correspondence of the topics discussed makes it probable that Giordano Bruno knew his writings. In particular, the De mutatione temporum, eiusque signis perpetuis may have inspired the De’ segni de’ tempi, a Bruno’s lost opera. This allows us to conjecture the content of the work with greater reliability. (shrink)

I argue a case for interpreting Yeats through the metaphysics of The Order of the Golden Dawn and the human/cosmic life cycle of their Rider-Waite tarot deck. In doing so, I will explain how the metaphysics of Indian and Egyptian sacred geometry inform his poetry, and his plays, in particular, ‘A Vision’ (1925) and ‘The Herne’s Egg’ (1938).