Philosophy and Literature

† PROPOSITIONS 1. Paul Ricoeur and Gilles Deleuze both develop a specific conception of novelty that goes against existing theories of metaphor. Ricoeur's strategy is to criticize these theories from within and to draw a theory of the living metaphor from them. Deleuze, in contrast, rejects thinking in terms of metaphors altogether. His view can best be understood in terms of a process of metamorphosis. (Chapter 1) 2. The notion living metaphor, understood as 'seeing the similar within the dissimilar,' lays the foundation for what I have called Ricoeur's model of productive tensions. (Part 1) 3. Ricoeur's response to the problem of novelty can best be modeled on his theory of the living metaphor. A living metaphor does not rely on an already existing resemblance, but creates a similarity that was not perceived before. It exceeds the boundaries of ordinary language and intimates a new connection between distant categories. As such it enables a stereoscopic vision. (Chapter 2) 4. Augustine's definition 'time is a distention of the mind [distentio animi]' provides an excellent illustration of a living metaphor in Ricoeur's sense. In Augustine's Confessions, a first attempt is made to draw a philosophical concept of time from this living metaphor by finding the similar (the temporal vocabulary that is sought) within the dissimilar (the psychological and spatial vocabulary that is given). As seen from Ricoeur's perspective, Augustine's attempt goes a long way, but does not fully succeed to explicate the implicit novelty of the living metaphor. (Chapter 3) 5. Deleuze's conception of novelty can best be understood as a process of metamorphosis that has two moments: a mutual metamorphosis that sets the process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This defines the underlying dynamic of what I have called the model of organizing encounters. (Part 2) 6. Deleuze's oeuvre can roughly be divided in three kinds of works: single-signature, doublesignature, and multi-signature works. The single-signature works try to set a process of metamorphosis in motion but often fail to bring it to an end. The double-signature works effectuate mutual metamorphoses in which something starts to pass between Deleuze and the philosopher he is discussing, creating a creative coupling that results in interesting new ideas. The multi-signature works, finally, attempt to move beyond the mutual metamorphosis by creating a continuous metamorphosis of proliferating series that never stops charging itself. (Part 2) 7. Following Deleuze's essays, in literature the mutual metamorphoses emerge through the employment of specific writing procedures in which the author injects the ordinary language with a strange undertone so that it starts to tremble and is pushed to the limit. Such a creative coupling of a decomposed and an ordinary language results in a poetic language. (Chapter 5)

Paladino Patrizia 3^A Paladino Patrizia 3^A SCHEDA LIBRO Autore: Umberto Galimberti, nato a Monza nel 1942, è stato dal 1976 professore incaricato di Antropologia Culturale e dal 1983 professore associato di Filosofia della Storia. Dal 1999 è professore ordinario all'università Ca' Foscari di Venezia, titolare della cattedra di Filosofia della Storia. Titolo opera: Le cose dell'amore. Il libro è di: saggistica, cioè appartiene al genere letterario dei saggi. Sommario: A) Riassunto per capitoli: I CAPITOLO "Amore e trascendenza": La metafora di Dio è sempre stata collegata alla metafora dell'amore, nel senso che senza la presenza della trascendenza, cioè che è al di là dei limiti di ogni conoscenza possibile e quindi superiore alla ragione umana, l'amore perde la sua forza e la sua capacità di leggere il mondo. Rimane un enigma dove l'amore vede in Dio la sua trascendenza, e Dio vede nell'amore la sua natura,e questo intreccio non presenta sentimentalismi ma solo il nesso tra amore e trascendenza. II CAPITOLO "Amore e sacralità": La sacralità è dovuta dal desiderio dell'uomo di immortalità e quindi dal desiderio di conservare la sopravvivenza dell'individuo e della totalità dell'essere. Oltre al sacrificio, un altro modo di sperimentare la morte della propria individualità è l'orgasmo, l'apice della vita sessuale, durante il quale l'Io e il Tu si dissolvono, e ciò è reso possibile dalla fiducia reciproca. III CAPITOLO "Amore e sessualità": Il sesso non è qualcosa di cui l'Io dispone, ma è qualcosa che dispone l'Io, aprendolo così alla crisi. Nella sessualità, la meta non è il godimento dell'Io, ma il suo perdersi negli abissi dell'anima, i quali si pensa siano rimasti disabitati, e che invece possono riapparire durante quel rinnovamento della vita a cui l'Io cede ogni volta che ha un rapporto sessuale e quindi nesso con l'altra parte di sé. IV CAPITOLO "Amore e perversione": La perversione è sempre stata giudicata negativamente, perché concepita come sinonimo di devianza, degrado, ribrezzo e ripugnanza. Il perverso non cerca la trasgressione, ma la sua aspirazione è di raggiungere uno stato dove è soppressa ogni nozione di organizzazione, struttura, separazione e dl'universo di differenze da cui prende avvio ogni principio d'ordine. Il godimento del perverso non deriva dalla sessualità, ma dalla sessualità portata a quel limite oltre il quale c'è l'incontro con la morte. V CAPITOLO "Amore e solitudine": La mitologia greca aveva divinizzato la masturbazione, perché era espressione di autosufficienza e indipendenza dagli altri. Ma questo atto venne condannato, nell'età dei Lumi, dalla scienza medica e dall'economia: la prima sosteneva che essa provocava malattie, mentre la seconda affermava che era uno spreco. Osservando invece il fenomeno della masturbazione da un'ottica diversa da queste due discipline, questo "vizio dell'adolescente" non appare come un qualcosa da combattere, ma un qualcosa su cui fare leva per integrare gradualmente la sessualità. VI CAPITOLO "Amore e denaro": La prostituzione è uno scambio di sesso e denaro che caratterizza il regime sessuale della nostra società, e che viene alimentato da un desiderio di rapido miglioramento delle proprie condizioni economiche. Infatti, di fronte al denaro tutto diventa merce: quando un uomo paga una donna, non le riconosce alcuna interiorità sua propria, arrivando a considerarla più come un "genere" che come "individuo". VII CAPITOLO "Amore e desiderio": L'amore è un'illusione di stabilità emotiva. Questo sentimento necessita novità, mistero e pericolo, ma deve saper combattere il tempo, la quotidianità e la familiarità. infatti, la ricerca della

در میان شاعران کلاسیک و معاصر شعر فارسی، فروغ فرخزاد چهره‌ای است که همواره از موقعیت ویژه‌ای برخرودار بوده است؛ به طوری که از زمان اوج‌گیری فروغ در آسمان شعر معاصر همواره کنجکاوی درباره او، به خصوص پرداختن به حواشی زندگی وی، از جذاب‌ترین سوژه‌های برخی از علاقه‌مندان و اهالی فرهنگ و ادب بوده است.
شاید مجموعه شرایط خاصی فروغ فرخزاد را در چنین موقعیت ویژه‌ای قرار داده است؛ زبان شعر او، سبک روایت او که سبک خودسرایی است، پرداختن او به برخی مسائل و مفاهیمی که تا آن زمان همواره تابو بوده است، صحبت از مقام و حقوق زنان در جامعه و برخی حواشی مبهم درباره چرایی و چگونگی مرگ او، همه و همه برخی از مهمترین خصوصیاتی هستند که در شکل‌گیری و خلق چنین موقعیت ویژه‌ای سهیم بوده‌اند.
در این زمینه،‌ از اهالی شعر و هنر گرفته تا نزدیکان و اعضای خانواده فروغ نظرات و تفاسیر گوناگونی را به رشته تحریر درآورده‌اند؛ نظراتی که گاه مفید و قابل تأمل واقع شده‌اند و گاه با پرداختن به حواشی بسیار ریز زندگی شخصی‌اش یا غیر ضروری و بی معنا به نظر می‌رسد و یا حتی در مواردی غیر اخلاقی و دور از واقعیت قلمداد می‌شوند.
صحبت درباره فروغ و پرداختن به مجموعه رویدادهایی که در طی 32 سال، لحظات زندگی او را رقم زده است، علاوه بر اینکه تکرار مکررات است، هدف اصلی این کتاب نیز نیست؛ در کتاب پیش رو، قصد دارم فارغ از در نظر داشتن جزئیات زندگی فروغ و پرداختن به آنها، صرفاً با استناد به اشعار منتشر شده از وی در پنج دفتر اسیر، دیوار، عصیان، تولدی دیگر و ایمان بیاوریم به آغاز فصل سرد، نگاهی فلسفی به شعر او داشته باشم و در نتیجه چنین نگاهی خوانشی فلسفی از زیست جهان او ارائه دهم.
به عبارت دیگر، در این کتاب قصد من این نیست که با توسل به زندگی فروغ، اشعار او را مورد تفسیر و واکاوی قرار دهم بلکه می‌خواهم با بررسی اشعار او از منظری فلسفی به شرح نگرش او به زندگی، هستی و دغدغه‌های وجودی‌اش بپردازم و متعاقباً سیر تکاملی آگاهی و تطور احوال وجودی در او را توضیح دهم.
خوانشی اگزیستانسیالیستی از زیست جهان فروغ با نگاهی به سه دوره زندگی فرخزاد، مطابقت زیست‌جهان فروغ با اصل اول اگزیستانسیالیسم، رخی از مطابقت‌های زیست‌جهان فروغ با ویژگی‌های مکتب فلسفی اگزیستانسیالیسم، فروغ، زوال و امید و فروغ فرخزاد: شخصیتی دوقطبی؟
از جمله عناوین مقالات این کتاب هستند.

Atti del Convegno su Leopardi tenuto all'Istituto Italiano di Cultura di New York nel 1998, con interventi di Edoardo Sanguineti, Alessandro Carrera, Franco Ferrucci, Giorgio Ficara, Sergio Givone, Thomas J. Harrison, Gioacchino Lanza Tomasi, Paolo Possiedi, Massimo Riva e Charles Wright.

Can literary fictions convey significant philosophical views, understood in terms of propositional knowledge? This study addresses the philosophical value of literature by examining how literary works impart philosophy truth and knowledge and to what extent the works should be approached as communications of their authors. Beginning with theories of fiction, it examines the case against the prevailing ‘pretence’ and ‘make-believe’ theories of fiction hostile to propositional theories of literary truth. Tackling further arguments against the cognitive function and value of literature, this study illustrates how literary works can contribute to knowledge by making assertions and suggestions and by providing hypotheses for the reader to assess.

Through clear analysis of the concept of the author, the role of the authorial intention and the different approaches to the ‘meaning’ of a literary work, this study provides an historical survey to the cognitivist—anti-cognitivist dispute, introducing contemporary trends in the discussion before presenting a novel approach to recognizing the cognitive function of literature. An important contribution to philosophical studies of literature and knowledge.

Th e goal of this study is twofold. First, it presents, as far as I am aware, the first comparison of two of the most literary-minded thinkers in the Jewish philosophical tradition, Judah Halevi (1075-1141) and Judah Abravanel (ca. 1465-after 1521). And, in so doing, it seeks to contribute to the emerging discussion concerning the various secondary forms of Jewish philosophy, showing how genres other than the standard philosophical treatise played just as important a role in the articulation of philosophical ideas and probably an even greater role when it came to disseminating such ideas. Too often the study of medieval Jewish philosophy focuses on content at the expense of form, thereby marginalizing issues of literary creativity and aesthetic effect. By putting such issues at the center we can ascertain not only the relationship between philosophy and literature, but also examine the ways in which the literary structure of a philosophical treatise contributes to the main argument.

[Full text in Link https://rdcu.be/brKbD or Ask for A Copy] This article examines the representations of the supernatural in Shakespeare’s Macbeth, which served as a significant source for later horror literature. It shows that the play’s rhetoric of horror and of the supernatural depends on its shifting discourse of nature. Nature in Macbeth refers to an external, nonhuman nature of cosmic events and elemental figures (air, bubble and fire) as well as to an internal, human nature of “horrid” images and surmises. Supernatural elements derive from the ontological instability in both external and internal nature, and relate particularly to those actions or events, through which nature becomes disturbed and duplicated. As the imaginary dagger scene indicates, the most terrifying source of the supernatural in the play is the human-made image that duplicates nature internally.

Joris van Gorkom (1978) is recentelijk gepromoveerd aan de Universiteit van Tilburg op een proefschrift over Kant, Heidegger en Derrida, met speciale aandacht voor het schematisme van Kant. Tegenwoordig is hij werkzaam aan deze universiteit. 1 H. Arendt, De banaliteit van het kwaad. Een reportage. Vert. W.J.P. Scholtz, Amsterdam, Moussault, 1969, p. 144.

Жанр романтической сказки имеет своей задачей восстановление прав и полномочий символа. Этой задаче служит обращение к мистико-герметической традиции как носительнице «силы символа». Мы рассматриваем сказку Андерсена «Снежная королева» как пример свободного использования языка мистической, и прежде всего, алхимической, традиции в
собственных целях.

Talvez não seja errado dizer que o conceito de humanidade é concomitante à constatação, por nossos ancestrais mais remotos, de que havia uma diferença fundamental entre eles e as outras classes de seres que compunham o seu ambiente mais próximo, tais como as pedras, as plantas e os animais privados do dom da fala. Tanto é que mitologias das mais diferentes origens, em relatos sobre o aparecimento dos seres humanos, apontam, de algum modo, para a especificidade desses diante das outras coisas. Isso não impediu, no entanto, que, em narrativas posteriores à mencionada constatação, a auto-compreensão da humanidade enquanto diferente do restante dos seres se apresentasse como que entrelaçada ao ambiente natural que a circundava, o que durante muito tempo terá sido mesmo uma característica evidente em inúmeros relatos míticos. Um estágio ulterior dessa experiência, é a consolidação paulatina da crença de que a diferenciação entre humanos e não-humanos se dá especificamente pelo fato de que aqueles são dotados de racionalidade stricto sensu enquanto esses não o são. A consolidação desse ponto de vista, num processo longo e tortuoso, veio a desembocar na consciência da distinção entre relações humanas baseadas pura e simplesmente na força e aquelas mediadas pela razão enquanto âmbito através do qual a concórdia e a compreensão preferencialmente poderiam ser alcançadas e, onde isso não fosse possível, alguma forma de compensação seria proporcionada à parte ofendida numa contenda ou, na pior das hipóteses, seria infligida punição à parte ofensora.

Language Lost and Found takes as its starting-point Iris Murdoch's claim that "we have suffered a general loss of concepts." By means of a thorough reading of Iris Murdoch's philosophy in the light of this difficulty, it offers a detailed examination of the problem of linguistic community and the roots of the thought that some philosophical problems arise due to our having lost the sense of our own language. But it is also a call for a radical reconsideration of how philosophy and literature relate to each other on a general level and in Murdoch's authorship in particular.

REVIEWS
“This fascinating book offers a valuable explication of Murdoch's relentless attempts to reveal what is missing in contemporary moral philosophy and culture. Greatly influenced by Kierkgaard, Wittgenstein, and Simone Weil, the complexity and messiness of ordinary life, and with one's deepest commitments-many of which cannot be accessed, or altered by means of arguments intended to defend philosophical "positions." Forsberg (Univ. of Uppsala, Sweden) makes excellent use of the work of Stanley Cavell, Cora Diamond, and Stephen Mulhall, who show how one might avoid the tendency of philosophers toward "deflection" from the "difficulties of reality." These are difficulties that people have when language fails in the face of experiences that refuse reduction to the abstraction of the clearly defined concepts sought after in philosophy--what Murdoch called its "dryness." Novelists like what it is like to struggle with the deeply confusing, distressing issues of the present without stepping aside from the emotional intensity of the encounters. Summing Up: Recommended. Upper-division undergraduates and above.--”
(S.A. Mason, Concordia University, Choice)

“A fair bang in the philosophy of literature ... Forsberg's addition to this scene is brilliant and necessary ... This [book] will reverberate.” 
(British Journal of Aesthetics)

“This is one of the most philosophically sophisticated contributions to these interlinked issues that I have come across in the last decade; the care, charity and ease with which Forsberg contests and dismantles one of the most influential current readings of Murdoch (that advanced by Nussbaum) is enough on its own to make it clear that standards in this area have just been raised.” 
(Stephen Mulhall, Professor of Philosophy, New College, University of Oxford, UK)

“Can we lose our moral concepts? Can our culture and our understanding of the human occlude the background that alone makes sense of the ideals we want to live by? Niklas Forsberg argues that this is a basic insight of Iris Murdoch's philosophy. Moreover, this gives us the key to understanding the relation of Murdoch's philosophical writings to her novels. The latter hold a mirror to our lives, in which we could potentially become aware of this loss. This book is full of philosophical insight, not only about contemporary moral thinking but also about the relation of literature to philosophical thought.” 
(Charles Taylor, Emeritus Professor of Philosophy, McGill University, Canada)

With its innovative narrative structure and its controversial explorations of race, gender and empire, Joseph Conrad's Heart of Darkness is a landmark of 20th century literature that continues to resonate to this day. This book brings together leading scholars to explore the full range of contemporary philosophical and critical responses to the text. Conrad's Heart of Darkness and Contemporary Thought includes the first publication in English of philosopher Philippe Lacoue-Labarthe's essay, 'The Horror of the West', described by J. Hillis Miller as 'a major essay on Conrad's novel, one of the best ever written'. In the company of Lacoue-Labarthe, leading scholars explore new readings of Conrad's text from a full range of theoretical perspectives, including deconstructive, psychoanalytic, narratological and postcolonial approaches. Drawing on the very latest insights of contemporary thought, this is an essential study of one of the most important literary texts of the 20th century.

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È un libro di filosofia della conoscenza che si muove liberamente tra filosofia e letteratura. La luce, intesa come supporto della scrittura (si scrive nella luce, "incidendo" la luce) nonché come metafora della conoscenza stessa, è indagata in quanto categoria filosofica a partire da Platone fino a Goethe, Hegel, C. S. Peirce e Merleau-Ponty. Al tema della luce si affiance quello del principio antropico, altrimenti detto organicismo logico, che vede nell'autocoscienza umana lo strumento ideato dalla natura per pensare se stessa. La formulazione letteraria più precisa e insieme più problematica di tale principio si trova in vari scritti narrativi e saggistici di Italo Calvino.

In this paper, I interpret the Republic’s “parallel” imagery of a contest between the lives of the most just and most unjust men as indicating that book 9’s two pleasure arguments are the culmination of the dialogue’s refutation of Thrasymachus’ sophistry. I take this strategic function of the pleasure arguments as the primary explanation as to why Socrates designates the account of the just man’s pleasure the "most severe defeat of the unjust man." In exposing my thesis, I challenge Richard Kraut's claim that the pleasure arguments have little significance to the dialogue's argument, and I suggest that my argument strengthens Daniel Russell's thesis that book 9's pleasure arguments complete Socrates' notion of the just soul.

This article compares two novels: Moyshe Kulbak’s Montog (“Monday”) and Samuel Beckett’s Murphy. Each novel ends with the death of its protagonist, figured as both a senseless act and the apotheosis of its hero’s self-reflexive, ironic rejection of community, faith, and purpose. Drawing on theories of Hannah Arendt, this comparison proposes to read the two narratives and their preoccupation with incarceration, institutionalization, revolutionary activity, religion, and the family as profound yet oblique parables on the nature of privation, resistance, and commitment in the multiple senses. Indeed, by arguing on behalf of a “politics of failure,” this comparison proposes a methodology for reading Beckett and Kulbak postcolonially that in turn invites further consideration of the postcolonial status of expatriate Irish and early-Soviet Jewish cultures, respectively. This essay creates for the two narratives a community of elective affinity that neither author would have envisioned for himself, and thus demonstrates that their respective critiques of ideological progress—via their shared strategies of parody, linguistic marginality, and exile—fulfill an explicitly political function.

From the island of certainty that is the Tractatus Logico Philosophicus to the everyday ethics of the mainland in the Investigations, Ludwig Wittgenstein's philosophy traces a journey similar to the one etched into Robinson Crusoe's deserted beaches. In this essay I map out points contact between Wittgenstein's philosophy and Defoe's novel, providing a fresh glimpse at the philosophical underpinnings of the adventures depicted in Robinson Crusoe, as well as of Wittgenstein's philosophical motivations.

"The article seeks to study Beckett’s (in)famous abstractionism in the light of his engagement with the discursive borderline of philosophy and literature with recourse to Alain Badiou’s texts on Beckett and his meditations on the philosophy-literature interface. Through a close textual reading of a series of Beckett’s late prose-texts, I argue that Beckett as a creative writer appropriates the reflexive locus of subjective thought which philosophy tries to claim as its exclusive belonging. This goes contra to Badiou’s idea of philosophy being  sutured to literature. In this problematic dialogue of the two discourses, Beckett’s obsessive abstractification renders the concrete as a remainder in the rigorous process of subtracting all particularities to arrive at a generic locus of thought. Beckett’s abstractionism is processual and non-absolute. It consists in the appropriation of the philosophical thought which thinks itself
without an object and as its own subject."

This essay affords the first extensive reading of T.S. Eliot’s marginalia to F. H. Bradley’s ‘Appearance and Reality.’ I draw attention to a shift in Eliot’s way of doing philosophy over the course of his year at Merton College, Oxford, 1914-1915; a shift that had consequences for the ways in which Eliot read or re-read Bradley. Drawing on Heather Jackson’s work on marginalia, I argue that Eliot’s notes on Bradley provide a window on this act of reading. In particular, I suggest that Eliot’s quibble with Bradley’s use of the word “transmute” – evident in the marginalia – opens up an extended conversation between the two authors and within which “Tradition and the Individual Talent” can be located. I offer not so much a new account of Bradley’s influence on Eliot as an enriched picture of the manner in which influence can be said to be exerted.

This paper aims to present the interpretation of Così è (se vi pare) (1918) given by Karl Löwith in his habilitation thesis, namely L'individuo nel ruolo del co-uomo (1928). The investigation of Pirandello's role within the framework of Löwith's Mitanthropologie («With-Anthropology») also equates to the demonstration of his presence in the European philosophical landscape of his age. The description of the basic features of the Mitanthropologie, i.e. a phenomenology of the relationality (§ 1), will be followed by the investigation of the role played by Pirandello within such a theoretical framework (§ 2). In particular, I will try to emphasize the philosophical meaning of Pirandello's topics (first and foremost the idea of an Alsmensch-i.e., «maskman»-personified by the character of Signora Ponza) comparing them with Heidegger's existential analytic and his idea of Dasein (§ 3). The final goal of this attempt is the possible accomplishment of an anthropological paradigm, that within Löwith's habilitation thesis is just sketched (§ 4).

This article is an attempt at presenting Jacques Rancière’s literary theory. French philosopher proves that an aesthetic dimension is inherent to politics and that the arts have a political dimension: their forms propose new paradigms of the community. Both literature and politics propose new ways of articulating reality. His theory concerns especially the so
called “esthetic regime of art” which breaks down various hierarchies of other regimes (“ethical” and “representational”). Such an artistic egalitarianism is analogous to the breaking
down of real social and political hierarchies. The history of literature has to define in each case this correspondence between literary forms and forms of political action.

''Bardağın boş tarafından bakmak'' deyimi, günlük konuşma dilimizde en çok kullandığımız deyimlerden biridir. Bu deyim, karşılaştığımız bir durum karşısında olumsuz bir bakış açısı geliştirdiğimizde ya da kötümser bakan kişiler için kullanırız. Bu deyimin bir zıddı da vardır: ''Bardağın dolu tarafından bakmak''. Söz konusu deyim, kötümser bakanların ve olumsuz durumların aksi için söylenmektedir. Bunları bir yana bırakıp şu soruyu soralım: Düz bir çizgi misali bir bakış açısına sahip insanlar var mıdır? Hayatı boyunca bardağın dolu tarafından bakan ya da boş tarafından bakan ve bu bakış açısını değiştirmeyen, var mıdır? Cevap verelim. Düz bir çizgi misali bakış açısına sahip insanlar vardır. Bu insanlar, bardağın ya dolu tarafına bakıp dolu tarafıyla düşünürler ya da bardağın boş tarafına bakıp o boş tarafıyla düşünürler. Seçim, bu bakış açısına sahip olanlara kalmıştır. Bakış açılarının seçimi, kişilerin kendisinde bittiği gibi, çevresinde yaşadıkları, çevresinden etkilendikleri durumlarla gerçekleşir. İkinci bir soru daha soralım: Böyle bir düşünüş biçimine sahip olanlar, dünyamızdan geçip gitmiş midir? Dünyamızdan geçip giden bu insanlar, bardağın dolu ya da boş tarafından bakmışlar ise bu bakışlarını ardında bıraktıkları eserlerine nasıl yansıtmışlardır? Böyle bir düşünüş biçimine sahip olanlar, dünyamızdan geçip gitmişlerdir. Dünyadan geçip giderken de ardından eser bırakmışlardır. Ancak bazı kişiler vardır ki onlar bardağın dolu tarafından bakmayı değil de boş tarafından bakmayı tercih etmişlerdir. Bardağın boş tarafından bakmaları, onların keyfi kararı değildir. Onları bardağın boş tarafından bakmaları, içinde yaşadıkları çevrenin zihniyeti ile de ilgilidir. Şimdi, bardağın boş tarafından bakan kişileri söylemenin sırası geldi: Schopenhauer, Yakup Kadri ve Maupassant. Onlar bardağın boş tarafından baktı, ancak nasıl baktılar? Bardağın boş tarafından bakarken, birbirlerini etkilediler mi ya da birbirlerinden etkilendiler mi? Schopenhauer, Yakup Kadri ve Maupassant, 19.yüzyılda yaşamış, yaşadıkları yüzyılın havasını solumuşlardır. Yaşadıkları bu yüzyıl, soludukları bu hava onların bakış açılarını da elbette etkilemiştir. Bu zaman dilimi içerisinde bardağın boş tarafından bakmayı tercih etmişler, baktıkları zaman gördüklerini eserlerine yansıtmışlardır. Gördüklerini eserlerine yansıtan bu isim, elbette ki birbirlerinden etkilenmiştir. Fakat en çok etkilendikleri isim, felsefe tarihinde düşünceleriyle kendisinden söz ettiren Schopenhauer olmuştur. Yakup Kadri ve Maupassant, Schopenhauer'dan etkilendikleri kadar birbirlerini de etkilemiştir. Söz konusu olan, Schopenhauer olacaktır ve çalışmada bardağın boş tarafından bakan üç gözün önemli aktörlerinden Schopenhauer'ın Yakup Kadri ve Maupassant'ı nasıl etkilediği üzerinde durulacaktır. Arthur Schopenhauer, 19.yüzyılda yaşamış, kötümser olarak bilinen bir filozoftur. Deyim yerindeyse felsefesini ''bardağın boş tarafından bakmak'' üzerine kurmuştur. Dünya benim tasarımımdır diyen filozof, dünyasını bardağın boş tarafından gördükleriyle kurmuştur. Bardağın boş tarafından baktığı zaman dilimi içerisinde dünyanın gidişatını yorumlar ve kendi sonunun ölüm olduğunun farkına varır. Bu farkındalık, Schopenhauer'a ölümü aratır. Hayatla anlaşamaz kötümser filozof, çünkü insan, trajik bir sona doğru gider. İnsanın varoluş iradesi, trajik bir biçimde varoluş tekerleğini döndürür. Tekerlek, kaçınılmaz bir gerçek olan ölüme gider. Bu yüzden de mutlu olmak için iradeden vazgeçmek gerektiğini söyler. İradenin olmadığı yerde, içgüdülerle hareket fikri başlar. Kötümserlikten kurtulmak adına da sanatı önemli bir yol olarak görür.

Kristin Gjesdal has already published a long series of articles and one anthology on the philosophical impact of Ibsen's dramatic works. With the present volume she delivers a more comprehensive and more deeply analyzed study on the subject that focuses on Ibsen's discussion of the philosophy of history. In the seven chapters of the study, she discusses Ibsen's relation to the aesthetic writings of Lessing and Herder, she debates his ambivalent reactions towards Hegel's aesthetics and philosophy of history, and finally she goes into the complex relation between the attempts by Ibsen and Nietzsche to revitalize modern forms of tragedy. One of the virtues of the study is that Gjesdal not only pays attention to this German context, but also to Scandinavian philosophers who transmitted and modified German philosophy (besides Kierkegaard and Brandes she repeatedly refers to Johan Ludvig Heiberg's philosophical writings). One could, of course, say that all of these complex intertextual relations have already been treated in older studies by Harald Beyer, Ole Koppang, Asbjørn Aarseth, Thomas F. Van Laan, Brian Johnston, and Matthias Straßner (to name just a few important representatives). But Gjesdal is certainly right when she states that the focus of these studies has been "lighter on philosophical content and detail" (p. 8) and heavier on dramaturgical observations. This should not insinuate that she is blind for the literary dimensions of Ibsen's works. On the contrary, all of the presented readings are characterized by an attempt to take drama and the dramatical forms of representation seriously. This

Franz Kafka’s story is vividly straightforward and clearly adheres to the primary incident of Gregor’s transformation into vermin. The horror, trembling and conflicting emotions that arise in the reader’s spirit are due to the insistent enactment of this metaphor—which like life itself—breaks all bounds of predictability, rational certitude and logic. Certainly, the reader cannot but naturally doubt the impossibility of the primary incident. Notwithstanding, against all instincts and inclinations, everything in the story is meticulously constructed to prompt the reader to accept the truth of the primary incident as an irreversible factum brutum. Henceforth, the reader seeing the absence of an acceptable cause for the primary cause itself; is, at the same time, searching under the very clarity of the story for an acceptable ground to interpret the hidden mystery of the metamorphosis of the reality of personhood into vermin. But no matter what, prearranged in lucid imagery, the facts of the story corroborate to simulate a fabricated yet real world that is hanging over an  incomprehensible abyss, dangling among the vicissitudes of a physical world out of balance and harmony with its surroundings, a world that surely accomplishes a blow and shock to moral identity, mostly seems to render asunder the building of our character with its pretenses to self-sufficient autonomy. Kafka’s ingenious story evinces at every turn a fatality that has nothing to do with an incorrigible personal law and ethical countenance; instead, shatters all hope of imbuing life with personal meaning. Gregor Samsa’s self-alienation, his humiliating metamorphosis, is reminiscent of the modern predicament of human beings in the technological era of machines brute facts and information systems, points through and through to the reality of material existence and the possibilities of its deterioration, consequently moves toward the complete subversion of an ethical universe. Gregor’s metamorphosis from a civilized man into a horrific and monstrous vermin, an instinctual underworld character with an almost automatic nature, and finally to a simple bit of matter, turns him into an antagonist who upsets all the instincts of life. Indeed, Kafka’s underworld vermin gives rise to a deep and stifled impulse in modernity, to the gradual spiritual death of the human, a metamorphosis par excellence of the human substantia (with no potentia: influence, power, might, or sway), that overrides all instinctual and hermeneutical bounds, pointing ever more so to a reductio ad absurdum: the untenable yet real reduction of human beings to a piece of matter and information moving toward the inorganic, making them at par with all animals. Henceforth, the humiliated modern human -uprooted beyond bound, stripped of all ethical purposefulness, no longer a moral entity given to thinking and questioning- is, called to de facto accept and obey the mastermind of simulated techno capital reality, and, the geophysical enterprise of its vested interests.

My theme is ‘life-writing’, understood as the shaping of one's life through the contemplation of values, although this activity is mostly unreflective. To become an art so that one's life can be shaped in greater accord with clearly held values, this process must become reflective. These values have an inescapably ethical dimension, because as we necessarily poetize our surrounding world, we contribute to our personal and communal ethos the character that arises from the culturally shaping power of guiding ideals. Even the immoralist cultivates life within an ethos where obscure feelings connect with some thing or other, whereby certain aims will then appear more valuable than others.

To understand how we cannot help but shape our lives according to dimly or clearly intuited values, I compare Coleridge’s primary imagination, the ‘shaping spirit’ ‘necessary for all human perception’ with Kant’s ‘blind though indispensible function of the soul, without which we would have no cognition at all, yet of which we are scarcely ever conscious’. With Coleridge, we find in imagination an impulse to connect profound but obscure presentiments and ideas with our surroundings. This impulse propels great art and everyday aesthetics alike. Whether we pursue merely what attracts us, or seek value beyond this, all lives are freely shaped, without excuses, as the existentialists say, but not always in the most pellucid consciousness. Our choices inevitably engage us in the poetic art of life-writing. Cast in medias res, we necessarily improvise. But this is no argument against lives being moral-aesthetic works, spontaneous compositions in value.

This article offers a close reading of Kafka's In the Penal Colony, exploring the text as a radical reflection on the nature of modernity in general, and Jewish modernity in particular. The article posits that In the Penal Colony is a meditation on the relation between suffering, transgression and law. For Kafka, where modernity is understood as the incapacity of linking suffering and transgression (sin), the old order is one where the relationship between suffering and transgression is understood as fundamental, and functions as a principle of readability of reality. For the ancients, it is this readability that endows the law with meaning and validity. By integrating parts of Foucault's thesis' on modernity as elaborated in Discipline and Punish with this analysis of In the Penal Colony, this article situates Kafka's text in the context of his literature in general, positing that it is the key text to understanding his oeuvre. In addition, this article offers an original reflection on one of the hidden themes of Kafka's work: the crisis of the modern Jew.

Kristin Gjesdal's The Drama of History: Ibsen, Hegel, Nietzsche is a rich exploration of Hegelian and Nietzchean themes in and through Ibsen's work. Ibsen (1828-1906) was born shortly before Hegel's death (1831) and was a contemporary of Nietzsche (1844-1900). 1 Some of Ibsen's best-known plays-A Doll's House, Ghosts, The Wild Duckpremiered during Nietzsche's most active period of philosophical writing. Gjesdal's book is also a window onto Hegel's and Nietzsche's 19th-century reception in Scandinavia, and their place in literary and artistic circles. That said, Gjesdal's book is not just about charting influence. This makes the study especially interesting and philosophically rich. It asks 'what hermeneutic-artistic possibilities were disclosed by the philosophical contributions at the time and how Ibsen, as an artist, makes use of and often goes beyond them' (3). Gjesdal reads the plays as taking up Hegelian and Nietzschean themes, yet complicating and challenging them, in such a way as not only to have Hegel and Nietzsche shed light on Ibsen but also to have Ibsen shed light on Hegel and Nietzsche. Two of the plays Gjesdal discusses will be less familiar to most audiences: The Vikings at Helgeland (1858) and Emperor and Galilean (1873), both works treating historical themes. It is Ibsen's bourgeois dramas, set in the Norway of roughly his time, that tend to be the popular stage mainstays now. The folkloric Peer Gynt (1867) is likely somewhere in between, in terms of familiarity. The Vikings at Helgeland takes place in the 10th century and draws, as its name would suggest, on the Saga literature. The 19th century was a period of great interest in mythology, with this thought to be a route to better understand and make sense of one's identity and of the values that ground one's community. During the same period as Ibsen was writing, Richard Wagner was at work on his monumental tetralogy, Der Ring des Niebelungen, which also drew on Norse mythology. This turn to mythology came on the heels of the Sturm und Drang movement, in which these historical evocations of the past played an important role as well. Gjesdal allows that the play is, to some extent, a mythologizing endeavour and an expression of Sturm und Drang sentiments. But it is, on her reading, not simply a backward-looking play, but one that speaks to our modern condition (32). It is indeed as though its central character Hjørdis faces the predicament of the modern subject: 'Her world is god-forsaken, her very self, her identity and self-understanding, emerges as hollow in the tradition she had previously taken for granted' (33). The turn towards the mythic, and attempts at dramatizing this, were in the 19th century also part and parcel of the attempt to demarcate and solidify distinct national identities. This, again, was a centrepiece of the Wagnerian

Orientiert man sich an der Anzahl der einschlägigen Publikationen, so kann man feststellen, dass die Aufmerksamkeit, die Philosophinnen und Philosophen dem Thema Literatur widmen, in den letzten Jahren stark zugenommen hat. 2 Dies ist nicht zuletzt der Formulierung verschiedener vermeintlicher Paradoxa geschuldet, etwa dem Paradox der Fiktion, also der Frage, ob wir genuine Emotionen für fiktionale Personen empfinden können, obwohl wir wissen, dass diese nicht existieren; dem Paradox der Tragödie bzw. des Horrors, also der Fragen, wie es möglich ist, dass wir uns an einer Tragödie bzw. einem Horrorfilm erfreuen, obwohl die dargestellten Ereignisse Mitleid oder Entsetzen hervorrufen sollten; oder der Frage nach dem kognitiven Wert fiktionaler Werke, also der Frage, ob fiktionale Texte kognitiven Gehalt haben und also unser Wissen bereichern können, obwohl die in ihnen enthalten Propositionen falsch sind. 3 In diesem Befund manifestiert sich ein zwiespältiges Bild, das den Zustand der Disziplin gut wiedergibt: Während sich die Philosophie der Literatur immer mehr zu einer selbständigen philosophischen Teildisziplin entwickelt, ist festzustellen, dass viele Beiträge zur Debatte kein genuines Interesse für Literatur zeigen. Oft stehen vielmehr Fragestellungen der Sprachphilosophie, der Erkenntnistheorie, der Metaphysik oder der Gefühlstheorie im Mittelpunkt, die außerdem zumeist nicht am Phänomen Literatur, sondern an dem der Fiktion abgearbeitet werden -was sich nicht zuletzt in den eben erwähnten Paradoxa zeigt. 1 Ich danke Daniel Steuer für wertvolle Hinweise und Anregungen zu einer früheren Fassung dieses Textes. 2 Als Beleg für das zunehmende Interesse sowie dafür, dass die Philosophie der Literatur daran ist, sich zu einer eigenständigen philosophischen Teildisziplin zu entwickeln, kann der Hinweis genügen, dass die Anzahl der Anthologien, Hand-und Einführungsbücher zur Philosophie der Literatur in den letzten Jahren stark zugenommen hat. Vgl. John/Lopes (2004), Eldridge (2009), Lamarque (2009), Hagberg/Jost (2010) sowie Carroll/Gibson (im Erscheinen). 3 Diese Problemstellungen sind freilich nicht neu, sind aber durch pointierte Diskussionsbeiträge wieder ins Zentrum der Aufmerksamkeit gerückt. Ich erinnere hier für das Paradox der Fiktion an Radford (1975), für das Paradox des Horrors an Carroll (1990) und für das Problem des kognitiven Gehalts der Fiktion an Stolnitz (1992).

Of the many forgiveness-related questions that she takes up in her novels, the one with which Iris Murdoch wrestles most often is the question, ‘Is forgiveness possible without God?’ The aim of this paper is to show, in the first instance, why the question Murdoch persistently raises is a question worth asking. Alongside this primary aim stands a secondary one, which is to consider how one might glean moral insights from the Christian tradition even if one does not (any longer) endorse its theological commitments.

The text proposes an interpretation of the play by E. Ionesco, La Cantatrice Chauve as the staging of what Heidegger calls in Sein und Zeit the improper exist-ence. The poetics of absurdity that Ionesco uses can be understood from the con-cepts that describe the improper existence: gossiping, curiosity, ambiguity and the “One”. The text proposes that La Cantatrice Chauve is a possible fictional model that gives shape to Heidegger´s concepts.

This essay considers the significance of voice in Coriolanus, especially the way voices are located within bodies. It shows how the patricians situate their voices in the "worthier" parts of the body and the citizens' voices in the "worser," leveraging anti-corporeal and anti-materialist ideologies to authorize their own speech and discredit the citizens'. Nevertheless, the voices in this play are highly mobile. They repeatedly move about within bodies and between bodies, undercutting the patricians' conservative approach and allowing us to envision radical alternatives. Invoking work by Emmanuel Levinas and Adriana Cavarero, the essay concludes by fleshing out these radical alternatives.

Che cosa intendiamo oggi quando parliamo di arte? Con Aisthesis, Jacques Rancière esplora alcuni momenti cruciali, celebri o dimenticati, che hanno modificato profondamente le categorie interpretative e le pratiche artistiche dell’età moderna, definendo l’attuale regime estetico dell’arte.
Lo stupore di Winckelmann di fronte al Torso del Belvedere, una visita di Hegel al museo, una serata trascorsa da Mallarmé alle Folies-Bergère, una conferenza di Emerson, una mostra a Parigi o uno spettacolo a Mosca, ma anche l’avvento del cinema e oscuri reportage letterari sui braccianti dell’Alabama: quattordici scene, dalla Dresda del 1764 alla New York del 1941, per raccontare come una statua mutilata possa diventare un’opera perfetta, un mendicante sporco la raffigurazione dell’ideale, un mobile un tempio, una scala un personaggio, le circonvoluzioni di un velo una cosmogonia e il montaggio frenetico dei gesti la realizzazione estetica di un principio di uguaglianza.
Smarcandosi dalle ricostruzioni ideologiche ed epocali del Novecento, Aisthesis traccia una controstoria della modernità artistica in cui riemerge un dialogo sotterraneo e a lungo perduto tra l’arte e l’orizzonte comune della vita sensibile.

 Poiesis -Poetika ¿No se puede identificar la actividad que es W.z.M. con Leben, esta es un caso especial. Esta crea typus-personajes que son quantum oomo Qual Revisar: leben wille macht: VIII.14[71], [72], [82], [121], [174], revisar a partir de 15[10] * Versión resumida, revisada y referenciada (Nietzsche·Werke. Historisch-kritische Ausgabe. Walter de Gruyter, 1994) del ensayo Poesía, hombre y kosmos en la filosofía de Nietzsche. Ediciones Vivarium, La Habana, 1994. No se trata, pues, para Nietzsche, de la aprehensión puramente racional del Ser como aquello que es y que no puede no ser, pues el no ser sería también una forma conceptualizada negativamente por el pensamiento, o sea, modo negativo de ser del Ser, paradójicamente impenetrable en su esencia para el pensamiento; en lugar de dicha aprehensión, Nietzsche propone experimentar, mediante la comprensión poética, la esencia lúdica de kosmos, o el Logos que incluye a lo emocional-volitivo. El pensar poético supone una suerte de genealogía sui generis; al preguntar por el valor de lo que acaece (Geschehen), establece quién lo produce y bajo qué síntomas se expresa 11 , pues con semejante cuestión manifiesta la intencionalidad de toda búsqueda del conocimiento 'puro' y, además, apunta hacia la existencia de la Verdad como juego, danza de opuestos o eterno retorno. 12 Por eso la filosofía poética de Nietzsche o bien se enmascara en la fría objetividad llevada hasta el absurdo, o adopta abiertamente los recursos poéticos que expresan la vivencia del Ser en el Eterno retorno. 11 VIII.7[1], kgw.VIII-1.253, 1.258; ksa.12.247, 12.250 <<Psychologie des Irrthums>> 12

The philosopher Berel Lang offers powerful arguments for the conclusion that there can be no useful fictional treatment of the Shoah. However, he grants that three writers (Celan, Appelfeld, Borowski) escape the force of these arguments. Lang is prepared to grant that, in such cases, “literary and moral genius” may enable a writer to “transcend” the “supposedly intrinsic” limitations suggested by abstract philosophical argument; but leaves open the question what such “genius” consists in. This essay is an attempt to provide an answer to that question for the specific case of Aharon Appelfeld. Appelfeld’s fictions introduce their readers into the fabric of Jewish life in Central Europe immediately prior to the catastrophe, to the extent of allowing them to feel in propria persona, and thus to attain knowledge-of, rather than merely knowledge-about, the tensions constituting the situational framework within which those lives were lived. Appelfeld’s fictions offer a way of recovering the individuality, as persons rather than numbers, of those whom the Shoah destroyed, because individuality displays itself, inter alia, in the varying of individual response to a common situation. Such recovery is relevant to our moral understanding of the Shoah, it is argued, because what is morally important about the Shoah is not merely the destruction, but the nature of what was destroyed. The essay concludes with brief discussions of the relative merits, in this connection, of fiction and memoir, and of the criticisms levelled against Appelfeld’s work by Bernstein and others.

This work analyses the «Unbreakable Vow» as developed in the plot of the novel Harry Potter and the Half-Blood Prince from a legal and ontological perspective. In particular, the relationship between magic and law is investigated in light of social ontology and is compared to Roman law’s obligationes verbis contractae.

After rethinking about the French interpretations of the relationship between Celan and Heiddegger, I wanted to (re)post this chapter of my 2003 PhD thesis (http://publikationen.ub.uni-frankfurt.de/frontdoor/index/index/docId/12414). I would definitely have to rework the text one day, because I wouldn't write it in the same way now. But it might even be usefull in it's initial form.
Résumé français :
Traduire la poésie allemande en français pose un grand nombre de problèmes quasi insurmontables. Dans le cas de Paul Celan les difficultés se trouvent accrues du fait de son écriture hermétique et idiomatique. Compte tenu de ces problèmes, la traduction en français nécessite un fort investissement de la part du traducteur et peut acquérir le statut d’une interprétation ou explication de l’original. Plusieurs versions du même poème peuvent ainsi véhiculer des images divergentes de son auteur, comme le montre le cas de deux poèmes de Celan évoquant l’un Friedrich Hölderlin l’autre Martin Heidegger. L’enjeu de la traduction de ces textes dépasse de loin le domaine esthétique pour toucher à l’idéologie.

Working from newly available texts in Heidegger’s Complete Works, Krzysztof Ziarek presents Heidegger at his most radical and demonstrates how the thinker’s daring use of language is an integral part of his philosophical expression. Ziarek emphasizes the liberating potential of language as an event that discloses being and amplifies Heidegger’s call for a transformative approach to poetry, power, and ultimately, philosophy.