Jason Wirth

Repositions Bachelard as a critical and integral part of contemporary continental philosophy. Like Schelling before him and Deleuze and Guattari after him, Gaston Bachelard made major philosophical contributions to the advancement of science and the arts. In addition to being a mathematician and epistemologist whose influential work in the philosophy of science is still being absorbed, Bachelard was also one of the most innovative thinkers on poetic creativity and its ethical implications. His approaches to literature and the arts by way of elemental reverie awakened long-buried modes of thinking that have inspired literary critics, depth psychologists, poets, and artists alike. Bachelard’s extraordinary body of work, unduly neglected by the English-language reception of continental philosophy in recent decades, exhibits a capacity to speak to the full complexity and wider reaches of human thinking. The essays in this volume analyze Bachelard as a phenomenological thinker and situate his thought within the Western tradition. Considering his work alongside that of Schelling, Husserl, Bergson, Buber, Heidegger, Merleau-Ponty, Gadamer, Deleuze, and Nancy, this collection highlights some of Bachelard’s most provocative proposals on questions of ontology, hermeneutics, ethics, environmental politics, spirituality, and the possibilities they offer for productive transformations of self and world.

This essay argues for the importance of Nishitani Keiji’s thought as a critical resource to confront what the unfolding ecological crisis reveals about who and what we are. The first part considers the importance of “nature” for Nishitani that accords with insights that both resonate with his Zen practice and heritage, and which open up tacit dimensions of the Jōdo Shin (True Pure Land) tradition. The second section turns to Nishitani’s highly original Zen “existentialization” of science in general, and by extension, contemporary climate science in particular, in order to highlight Nishitani’s Great Death as a response to the unfolding ecological catastrophe. In treating climate science as a kōan, we not only come to see who we are, but also come undone and awaken to a new relation to the Great Earth.

As is well known, the renowned Hegel scholar, Franz Rosenzweig, had a dramatic break with Hegel in particular and German Idealism more broadly, as strikingly evidenced in his magnum opus, The Star of Redemption. In the third or 1815 draft of Die Weltalter, Schelling writes that while “all thinking must begin the dialectic, it cannot end in the dialectic.” Schelling continued his turn toward what he called “positive philosophy,” which emerges “toto caelo” differently than from the “universality” and “indeterminacy” of negative thought. What is this new mode of thought, born—both for Schelling and for his unexpected admirer Rosenzweig—from the limitations of negative thought? How does one characterize this rupture within Idealism itself?

"Blessed are they who are empty, for in them life finds no restrictions, no barriers."I begin by expressing my heartfelt gratitude to my three astute readers, all of whose own work I admire and esteem. They already inhabit the philosophical universe to which my book aspires, and I am moved that they recognize this. Writing, to borrow Paul Celan's famous simile, often seems like a message in a bottle, tossed out to sea. How rare and wonderful that it washes ashore, and rarer still when received in a heartland!These insightful comments, provocative embellishments and commentaries, and well-posed questions are, to my thinking, the highest honor that a reader can grant a text. I learned much from them. As Maurice...

Schelling argued that early modern science had discarded the ancient teaching of matter – the world soul (die Weltseele or anima mundi, the unity of soul and body, eternity and time, absolute possibility and existence) – «into the common grave they dug for nature and have brought about the death of all science». In order to put science on a more philosophical tract, Schelling retrieved the work of Giordano Bruno as part of his «handful» of thinkers who in a contemporary context appear on the border between an ancient but still vital sense of philosophy and the emerging scientific study of nature.

This is an appreciative examination of Matthias Fritsch’s significant new book, Taking Turns with the Earth: Phenomenology, Deconstruction, and Intergenerational Justice (Stanford, 2018). After analyzing the temporal axis of Fritsch’s intervention into the question of intergenerational justice in the context of the ecological crisis, I extend it to a complementary spatial analysis by following some of the book’s important cues. I develop this in terms of some recent North American Indigenous philosophy, including Winona LaDuke, Glen Sean Coulthard, and Leanne Simpson.

Continental philosophy, beginning with Kant, has found itself exposed to the abyss of reason. This crisis makes it a more ready dialogue partner with some of the Zen tradition. I explore this opening by bringing Eihei Dōgen into an encounter with Continental thought, broadly construed. Rather than demonstrate how Dōgen already fits within Continental thought or re-engineering the latter so that he can fit, I argue that this encounter, already precipitated by Continental philosophy’s own acknowledgement of the felix culpa of Western philosophy’s otherwise indefensible overreach, transforms and expands the manners in which thinking counts as philosophical. This is no less than to recover a sense of philosophy as genetic and creative, rather than a shopworn tool kit of universal insights.

John McCumber’s new book takes up the current professional crisis in the discipline of philosophy and traces it back to a series of fateful philosophical distinctions that have resulted in an oppressively substantialist disposition and, in so doing, have rendered philosophy pernicious. When humankind thrives, philosophy wanes, but when philosophy thrives, humankind generally wanes. In reviewing McCumber’s timely and important work, I also reflect on philosophy’s current crisis of relevance, both in itself and with reference to this journal.

On the True Sense of Art collects essays by philosophers responding to John Sallis's Transfigurements: On the True Sense of Art as well as his other works on the philosophy of art, including Force of Imagination and Logic of Imagination. Each of the chapters, by some of the leading thinkers in Continental philosophy, engages Sallis's work on both ancient and new senses of aesthetics--a transfiguration of aesthetics--as a beginning that is always beginning again. With a responsive essay by Sallis himself, On the True Sense of Art forms a critical introduction to the thought of this generation's most important aesthetician.

Thinkers like Slavoj Žižek and Tim Morton have heralded the end of our ideological constructions of nature, warning that popular “ecology” or the “natural” is just the latest opiate of the masses. Attempting to think what I call Nature after Nature, I turn to the Kamakura period Zen master Dōgen Eihei (1200–1253) to explore the possibilities of thinking Nature in its non-ideological self-presentation or what Dōgen called “mountains and rivers (sansui).” I bring Dōgen into dialogue with his great champion, the American poet Gary Snyder (who understands the process of sansui as “the wild”), as well as with thinkers as diverse as Schelling, Kundera, Žižek, Agamben, and Muir. Beyond Nature being any one thing, what Badiou derides as the “cosmological one,” I argue for the reawakening and sobering up to multiple Nature, beyond its appearance as an object to a discerning subject, as the bioregions which give us our interdependent and dynamic being.

As a sign that interest in Schelling is growing beyond its initial reception within more continentally inflected studies, Lara Osteric has collected eleven generally impressive essays that are organized around the chronological development of Schelling’s thinking, and that reassess his place in the history of philosophy.Eric Watkins enters the debate around the decisive influences on Schelling’s early thinking. Conceding the well-known influences of Hölderlin, Fichte, Jacobi, and the Pantheismusstreit, his reactionary Tübingen teachers, and Reinhold’s attempt to provide a firm foundation for Kantian critical philosophy, Watkins argues for...

In this essay I hope to make some new contributions to the philosophical opening occasioned by John Sallis’ articulation of an “elementology” more broadly and by his turn to Guo Xi’s exquisite Song Dynasty shan-shui scroll painting, Early Spring more particularly. I do so by bringing the remarkable writings by the American poet and thinker Gary Snyder, especially in relationship to his reading of the great Kamakura Zen Master Eihei Dōgen, directly into the fray of contemporary Continental discourses on the elemental and the ecological. At the heart of this project is Snyder’s development of Dōgen’s elemental discourse of “mountains, rivers, and the great earth.” Like Sallis’ own efforts to recast language into a more elemental discourse, this essay will also focus on the manners of speaking specific to the philosophical and poetic self-presentation of the elements, including the relationship between the philosophical and the artistic as such.