John Sallis

"Being and Logos" is... a philosophical adventure of rare inspiration.... Its power to illuminate the text..., its ecumenicity of inspiration, its methodological rigor, its originality, and its philosophical profundity—all together make it one of the few philosophical interpretations that the philosopher will want to re-read along with the dialogues themselves. A superadded gift is the author's prose, which is a model of lucidity and grace." —International Philosophical Quarterly "Being and Logos is highly recommended for those who wish to learn how a thoughtful scholar approaches Platonic dialogues as well as for those who wish to consider a serious discussion of some basic themes in the dialogues." —The Academic Reviewer

Philosophical reflection proposes a return to self as the condition required of a genuinely radical transcendental philosophy. This proposal has its proper ground. It is not an ideal externally imposed upon reflection but rather springs from the very structure of reflection itself in its relation to the reflected. It has its source, specifically, in the capacity on the part of reflection to gain mastery over any proposed external condition in the sense that the very posing of such a condition, presumed to mark the limit of reflection, proves, in the end, to be itself the work of reflection. To the extent that reflection, as re-enactment, poses the limit for itself, it thereby represents the limit in such fashion as to exhibit it as having already been, at the unreflected level, no more than a constitutive product. To the degree that reflection brings an external limit to light, it reveals that limit as sustained precisely by the light which illuminates it, and hence, it dissolves its externality. Thus, philosophical reflection proposes a return to self which is achieved in an act of total reflection. Such reflection first opens up the domain of philosophical thought by actualizing at a single stroke the ideal born of the first act of reflection. It places itself from the very outset at the terminal point of the transcendence from perspectivity to objectivity whose inherent incompleteness defines our perceptual life, and it claims not only to have achieved this vantage point but also to have brought objectivity totally under its command, to have subjugated it by elevating itself to that position which is no longer really a position at all, that position from which objectivity is only for-consciousness. The return to self is a reflective appropriation of the pre-reflective through which the identity of reflection with the reflected is established in such a way that all that remains to be accomplished is the explication by reflection of what is already totally, though still implicitly, appropriated to it. The authentic task of philosophical thought is to render the implicit explicit. Transcendental philosophy is thus obliged to insist that with the very inception of genuinely philosophical thought the subject is already implicitly a pure presence of itself to itself, a presence which is, in principle, totally transparent. The subject is pure inferiority, and the way is prepared for asserting, with Hegel, that “Spirit is Being-within-itself.” Even its own return to itself by which it first reaches the level of philosophical thought is, in the end, taken up into the circuit of self-presence definitive of this level and appropriated in such a fashion that the shadows which made this path of self-discovery into a highway of despair are banished by the high noon of reflection; the subject's own constitutive history is transformed without residue into a history constituted by the subject.

Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work. Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human.

This volume of the collected writings of John Sallis presents a two-semester lecture course on Maurice Merleau-Ponty given at Duquesne University from 1970 to 1971. Devoted primarily to a close reading of the French philosopher's magnum opus, Phenomenology of Perception, the course begins with a detailed analysis of The Structure of Behavior. The central topics considered in the lectures include the functions of the phenomenological body; beyond realism and idealism; the structures of the lived world; spatiality, temporality, language, sexuality; and perception and knowledge. Sallis illuminates Merleau-Ponty's first two works and offers a thread to follow through developments in his later essays. Merleau-Ponty's notion of the primacy of perception and his claim that "the end of a philosophy is the account of its beginning" are woven throughout the lectures. For Sallis's part, these lectures are foundational for his extended engagement with Merleau-Ponty's The Visible and the Invisible, which was published in Sallis's Phenomenology and the Return to Beginnings.

This latest philosophical text by John Sallis is inspired by the work of contemporary Chinese painter Cao Jun. It carries out a series of philosophical reflections on nature, art, and music by taking up Cao Jun's art and thought, with a focus on questions of the elemental. Sallis's reflections are not a matter of simply relating art works to philosophical thought, as theoretical insights and developments run throughout Cao Jun's writings and inform many of his artistic works. Sallis maintains abundant points of contact with Chinese philosophical traditions but also with Western philosophy. In these reflections on art, Sallis poses a critique of mimesis and considers the relation of painting to music. He affirms his conviction that the artist must always turn to nature, especially as reflections on the earth and sky delimit the scale and place of what is human. Full-color illustrations enhance this provocative and penetrating text.

This volume of the collected writings of John Sallis presents his lecture courses on Immanuel Kant. Each course takes up one of Kant's three Critiques, and thus the text as a whole treats the entirety of the Kantian critical project. Sallis displays here, as he does in all of his lecture courses, an uncanny ability to open up dense philosophical texts. Sallis patiently and successfully lays out the issues-theoretical, practical, aesthetic, and philosophical-and his critical approach to them. For students and seasoned scholars who require a step-by-step interpretation of Kant, these texts by Sallis are attuned to the spirit, structure, and principle of these foundational works.

Nietzsche's Voices, the latest volume of John Sallis's Collected Writings, presents his two-semester lecture course on Nietzsche offered in the Philosophy Department of Duquesne University during the school year 1971-72. "Nietzsche is easy to read; his is apparently the easiest of all the great philosophies. Yet the easy intelligibility is deceptive. Nietzsche's writings make us believe we have understood when in fact we have not. His philosophy is actually the exact opposite of easy," says Sallis. He first discusses Nietzsche's life and the relevance of the classical Greeks to his thought. Then, in invigorating detail, Sallis discusses Nietzsche's views on truth, morality, and the death of God. The final lecture covers Thus Spoke Zarathustra, Nietzsche's influential but highly debated work of philosophical fiction. Nietzsche's Voices represents an essential introduction to the thought of Friedrich Nietzsche, as presented by one of today's most significant philosophers.

ABSTRACT This essay explores the ways in which frames allow what lies within them to shine forth with exceptional brilliance. It deals, first of all, with the frames of paintings but then is devoted primarily to the kinds of frames that can enclose discourse. Detailed attention is given to the framing constituted by multiple, telescoping reports of a conversation or event. Such framing as it occurs in several Platonic dialogues is investigated in detail. All translations are by the author, though standard translations have been consulted.

Although imagination is not one of the subjects treated extensively in Husserl's phenomenology, it is one of its most important 'instruments'. In his phenomenology as a work of imagination, imagination even acquires for Husserl primacy over perception. But in his phenomenology of imagination as its subject matter, Husserl seems to repeat the old distinction between original and image in his differentiation between perception as the reaIization of full bodily presence and imagination as referring to inferior modes of presence. The author criticaIly analyses Husserl's distinction (within imagination) between phantasy and image-consciousness. The fact that Husserl describes the image-object in image-consciousness as a "mere image" which appears only as "a nothing" on the scene of actual presence, and the fact that Husserl distinguishes phantasy from image-consciousness by its lacking any representational consciousness, leads one to suspect greatly that Husserl reverts to a contentbased approach which was to have been excluded by his theory of intentionaIity. In the last section the author outlines a reorientation according to which imagination is thought of not in reference to presence (as has been done in the history of metaphysics), but in reference to an appearing, an imaging, a showing, that would never be a matter simply of presence, but rather of spacings that would fracture presence. This conception of imagination could explain the power of imagination to open up phenomenology.

_Transfigurements_ develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare’s comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a compelling new elaboration of the philosophy of art.