Robert Pippin

In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ _Red River_ and John Ford’s _The Man Who Shot Liberty Valance_ and _The Searchers._ Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected. Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy.

The notion of modernism, originally a classificatory term in art and literary criticism, now a common term of art in many philosophic (and anti‐philosophic) programs, has remained an elusive, often vague point of view. For a discussion of the notion's historical accuracy and philosophic legitimacy this article selects an author greatly responsible for setting out the problem (called by him ‘nihilism') and philosophically sensitive to the issues involved in claiming that something essential to a tradition has ‘ended’ and something new ‘begun’: Nietzsche. Such issues are: what needs to be shown in order to demonstrate that indeed a complete ‘break’ in a tradition has occurred, especially if part of that claim is that this break ought to have occurred? And: what consequences follow, particularly with respect to the possibility of ‘post‐modern’ ‘justification'? Nietzsche's answers to these questions are more subtle than has been appreciated, and can, when pursued properly, help reveal the strengths and weaknesses of such post‐Nietzscheans as Heidegger, Deleuze, Foucault, and Derrida.

Hegel, in a chapter called “Absolute Knowing,” end his most exciting and original work, the Jena Phenomenology of Spirit, with a quotation, or rather a significant misquotation, of a poet? The poet is Schiller and the poem is his 1782 “Freundschaft” (Friendship). This immediately turns into two questions: Why are the last words not Hegel’s own, and why are they rather a poet’s? I will turn to the details in a moment but, as noted, such an inquiry may not be worth the trouble. Authors, even philosophers (who, with only a few exceptions, are not known for their literary style) like to cite poets..

So much philosophy is so unavoidably guided by intuitions, and such intuitions are so formed by examples, and such examples must of necessity present so cropped and abstract a picture of an instance or event or decision, that, left to its traditional methods, philosophy might be ill-equipped on its own to answer a question about the true content of an historical ideal like ``autonomy'', or authenticity or ``leading a free life''. One needs to bring so many factors into play at once that one non-traditional but more promising path might be through reflection on the modern novel—or modern drama or poetry or film or even modern painting.

Forthcoming in Conference Proceedings, Jena Phänomenologie conference I Hegels Charakterisierungen der neuen, von ihm entwickelten philosophischen Form, der Phänomenologie des Geistes, stellen vor allem deswegen ein Problem dar, weil sie so zahlreich sind. Bei einigen handelt es sich um klar erkennbare Reformulierungen oder Spezifizierungen anderer, in vielen Fällen aber scheinen die Beschreibungen inkonsistent zu sein oder unterschiedliche Perioden in Hegels Denken widerzuspiegeln, das sich während der Jenaer Zeit zwischen 1802 und 1806 rasch entwickelte. Ursprünglich war eine Phänomenologie eine „Wissenschaft der Erfahrung des Bewußtseins“. Sie ist auch eine „Wissenschaft der Phänomenologie des Geistes“. Sie stellt eine Einführung in das wissenschaftliche System dar und bildet zugleich den ersten Teil eines solchen Systems. Die Enzyklopädie bezeichnet die PhG als „die wissenschaftliche Geschichte des Bewußtseyns.“ Im Hauptteil nennt Hegel das Werk den „Weg der Seele, welche die Reihe ihrer Gestaltungen, als durch ihre Natur ihr vorgesteckter Stationen durchwandert, daß sie sich zum Geiste läutere, indem sie durch die vollständige Erfahrung ihrer selbst zur Kenntniß desjenigen gelangt, was sie an sich selbst ist” (55). Berühmt ist seine Bezeichnung der Phänomenologie als „Weg des Zweifels“, ja, als „Weg der Verzweiflung“, und als „ausführliche Geschichte der Bildung des Bewußtseyns selbst zur Wissenschafft“. (56).

Nietzsche regarded 'Thus Spoke Zarathustra' as his most important work, and his story of the wandering Zarathustra has had enormous influence on subsequent culture. Nietzsche uses a mixture of homilies, parables, epigrams and dreams to introduce some of his most striking doctrines, including the Overman, nihilism, and the eternal return of the same. This edition offers a new translation by Adrian Del Caro which restores the original versification of Nietzsche's text and captures its poetic brilliance. Robert Pippin's introduction discusses many of the most important interpretative issues raised by the work, including who is Zarathustra and what kind of 'hero' is he and what is the philosophical significance of the work's literary form? The volume will appeal to all readers interested in one of the most original and inventive works of modern philosophy.