Dimitris Vardoulakis

This article examines the connection between lying and the concept of freedom, especially in the wake of the social contract tradition. I show that the liar poses a particular threat to the social contract. As a result, lying has been portrayed as a pernicious threat to the political. This culminates in Kant’s outright rejection of lying under any circumstance. From the Kantian perspective, one can be free only if one does not lie. Conversely, Spinoza’s co-implication of virtue and power entails that lying is acceptable under certain circumstances, which enhance one’s freedom. The contrast between Kant’s and Spinoza’s response to lying reveals two fundamentally different ways of conceiving freedom

This book questions what sovereignty looks like when it is de-ontologised; when the nothingness at the heart of claims to sovereignty is unmasked and laid bare. Drawing on critical thinkers in political theology, such as Schmitt, Agamben, Nancy, Blanchot, Paulhan, The Politics of Nothing asks what happens to the political when considered in the frame of the productive potential of the nothing? The answers are framed in terms of the deep intellectual histories at our disposal for considering these fundamental questions, carving out trajectories inspired by, for example, Peter Lombard, Shakespeare and Spinoza. This book offers a series of sensitive and creative reflections that suggest the possibilities offered by thinking through sovereignty via the frame of nihilism. This book was originally published as a special issue of Culture, Theory and Critique

J’ai découvert l’oeuvre de Jacques Derrida quand j’étais étudiant dans un département de philosophie analytique. L’un de mes professeurs – un spécialiste du positivisme – parlait d’un philosophe français comme du « plus grand logicien du vingtième siècle ». Ce philosophe français, c’était Derrida. J’aimerais prendre au sérieux cette assertion, en la mettant à l’épreuve d’une rencontre entre la conception philosophique occidentale de la liberté et la logique derridienne. Rencontre que je propose de mettre en scène sous la forme de deux instantanés.

Those of Collingwood's interpreters who insist that the science of being was abandoned in the later writings, tend to display also a marked dissatisfaction with the logic of question and answer, at least as it is presented in the Essay on Metaphysics. The most influential statement of this interpretation is undoubtedly Rex Martin's. It was initially published as an article in 1989 and was later institutionalized through its incorporation in his 'Editor's Introduction' to the Oxford University Press revised edition of the Essay. I start from the assumption that Collingwood should be read as a hermeneutic philosopher. Having shown elsewhere what this means for Collingwood's conception of being and ontology, I will concentrate here to show that Collingwood's hermeneutics cannot be reconciled with an interpretation that finds no place for question and answer in his philosophy. The logic of question and answer is indispensable to the hermeneutics of Collingwood. I will argue that Martin's expunction of question and answer from Collingwood's philosophy rests on an a sense of meaning that is foreign both to hermeneutics and to Collingwood

In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. Collingwood’s ontology is indispensable for understanding his aesthetics, and vice versa. The crucial link is the imagination. What Collingwood calls ‘total imaginative experience’ is described in the Principles as the sine qua non of both thought and sensibility. The aim of this article is to examine the ontological import of Collingwood’s conception of the total imagination.