Bernard Freydberg

In a letter written to Gadamer after receiving a copy of Truth and Method, Leo Strauss offered many criticisms with which Gadamer took issue. However, he acknowledged the important hint cited in the title. Perhaps strangely, Gadamer never took up this hint and showed very little interest in comedy throughout his Gesammelte Schriften. In this essay, I show that there are ample resources within Gadamerian hermeneutics to answer Strauss positively, also for a rich philosophy of comedy along Gadamerian lines. Toward that end, I use Gadamer’s Aristotelian view of tragedy as a clue; interpretations of play, excess and delight (Ergötzen) also weave into the analyses

Both in Force of Imagination: The Sense of the Elemental and in his very recent Logic of Imagination: The Expanse of the Elemental, John Sallis enacts a reconfiguration of the relationship of geometry to elementology, which might be regarded more generally as a rethinking of the relation of mathematics to philosophy. The paper will trace this reconfiguration in two ways: as it lies present but concealed in the history of philosophy, for example, in Descartes’ so-called “dualism” and in Kant’s pure productive imagination, and in its present creative evolution in fractal geometry, as Sallis interprets it. Sallis draws together the mathematical affinity with a fundamental aesthetic drive, likening mathematical patterns to choreographic ones. I conclude by following this strain as it points to specific dance companies, and to my own sense of aesthetic homecoming as presented in my Imagination in Kant’s Critique of Practical Reason.

"Heidegger" and "comedy" are words that one seldom finds conjoined. However, in his 1943 Summer Freiburg lecture course entitled " Der Anfang des abendländischen Denkens. Heraklit ," the word " komisch " occurs significantly, it is regarded as superior to " das Tragische ," and thus can open up a new vista onto Heideggerian thought. In this paper, I discuss Heidegger's interpretive translation of Heraclitus' Fragment 123: Φυσιζ κρυπτ∊σθαι φιλ∊ι. I attempt to show how Heidegger distinguishes his translation and interpretation from other great thinkers and other ways of thought, and how this distinction ultimately unfolds into that unlikeliest and untimeliest of beings, a uniquely comic Heidegger

Among Platonic images that have engaged John Sallis’s thought on Plato, the second voyage of Socrates, his deuteros plous, recurs often and provocatively. It is not too much to suggest that deuteros plous has occasioned many of Sallis’s own voyages, as well as suggesting a fruitful image of the philosopher as voyager that may be gleaned from these peculiar journeys. This essay will consist of four brief sections. The first will focus upon Sallis’s earliest reading of deuteros plous in Being and Logos: The Way of Platonic Dialogue (the title of its first edition, to me the best title), in which he provides a sustained reading of Phaedo 95e–102a, in the heart of which Socrates’s second voyage is brought ..

Abstract The paper is divided into four brief but related sections: (I) a description of Figal's resuscitation and reinterpretation of the word that informs the title of his book, the word “ Gegenstand ,“ and his Heidegger-critique regarding this resuscitation; (II) an examination of an important strain of the aforementioned lineage, namely, the role of Wilhelm von Humboldt as source for Heidegger's and his own Sprachdenken ; (III) an account of the Figal-Heidegger encounter with respect to the speaking of language; and (IV) the culmination of the “ Sprache “ chapter and some comments upon the outcome with regard to philosophy of language

With particular focus on imagination, Bernard Freydberg presents a close reading of Kant’s second critique, The Critique of Practical Reason. In an interpretation that is daring as well as rigorous, Freydberg reveals imagination as both its central force and the bridge that links Kant’s three critiques. Freydberg’s reading offers a powerful challenge to the widespread view that Kant’s ethics calls for rigid, self-denying obedience. Here, to the contrary, the search for self-fulfillment becomes an enormously creative endeavor once imagination is understood as the heart of Kantian ethics. Seasoned scholars and newer students will find a surprising and provocative view of Kant’s ethics in this straightforward and accessible book

Part I. Phenomenology -- Phenomenology and the return to beginnings -- Delimitations: phenomenology and the end of metaphysics -- Part II. Sallis's Plato interpretation -- Being and logos: reading the Platonic dialogues -- Chorology: on beginning in Plato's Timaeus -- Platonic legacies -- Part III. Art/Sallis -- Stone -- Shades-of painting at the limit -- Topographies -- Part IV. Sallis and other thinkers -- The gathering of reason -- Spacings-of reason and imagination in texts of Kant, Fichte, Hegel -- Echoes: after Heidegger -- Crossings: Nietzsche and the space of tragedy -- Part V. Sallis speaks directly -- Double truth -- Force of imagination: the sense of the elemental -- On translation -- The Sallis/Derrida dialogue -- Derrida's "Tense" and Sallis's The verge of philosophy.

This paper discloses and furthers the rebirth of comedy in Continental philosophy in three stages. The first treats Greek comedy, bringing forth the comic contours in Plato and exploring the philosophical content of Aristophanic comedy. The second examines certain German encounters with comedy, from the staid Wieland translations of Aristophanes through the thoughtful discussions of Schiller, Hegel, and Nietzsche. The third investigates twentieth-century American comedy and its connection to American Continental philosophy, and includes a close analysis of the Marx Brothers' Horsefeathers . The latter serves as a bridge to some surprising developments regarding comedy, poetry, and philosophy