Christian Lotz

I argue from a hermeneutic point of view that formal elements of poetry can only be identified because poetry is based on both the phenomenon and the conception of poetry, both of which precede the attempt to identify formal elements as the defining moment of poetry. Furthermore, I argue with Gadamer that poetry is based on a rupture with and an epoche of our non-poetic use of language in such a way that it liberates “fixed” universal aspects of everyday language, and that through establishing itself in a new, self-referential and monologue unity, it individualizes speech . From the hermeneutic position, poetry is a form of speaking rather than a “fixed” object. As such, I will try to make sense of what Paul Celan said in his famous “Meridian” speech: namely, that the poem is “actualized language, set free under the sign of a radical individuation, which at the same time stays mindful of the limits drawn by language, the possibilities opened by language.”

Phenomenology and Embodiment. Husserl and the Constitution of Subjectivity is a surprising study, given that much has been written during the last decades on phenomenology and embodiment. Although its author, Joona Taipale, does not offer revolutionarily new insights into Husserl’s phenomenology , the book is an outstanding contribution to phenomenology in general, and to Husserlian phenomenology in particular. For although it covers a broad range of topics within the area of a phenomenology of embodiment, its author expertly brings together a diverse range of aspects of his topic and weaves together many thematic threads in a lucidly written and coherent text. The study is superbly organized, as well as clearly laid out in its introduction and conclusion. And though partial aspects of Taipale’s topics have been addressed before, this is the first study, as far as I can see, that brings them all together within 240 pages. After a discussion of “small scale” issues, such ..

The problem of distinguishing between willing and wishing and their significance for both the constitution of our consciousness as well as the constitution of our practical life runs all the way through the history of philosophy. Given the persuasiveness of the problem, it might be helpful to draw a sharp distinction between a metaphysical and a psychological or phenomenological approach to the problem. The first approach may be identified with the positions that Fichte, Schelling, Hegel, Schopenhauer and Nietzsche held, which involved an identification of the will with reality/actuality in general, and which Heidegger tried to analyze in his later writings on the basis of his confrontation with Nietzsche. In this paper, however, I will not consider the metaphysical approach to the distinction; rather, I will focus on the second approach to distinguishing wishing and willing, which was initiated by Aristotle in his Nicomachean Ethics, and of which as we will see soon – Husserl and the early Heidegger are ultimately still heirs. Hence I will begin my consideration by recalling briefly the main claim in Aristotle’s discovery of the central position of will within our life.

In this paper I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the non-intentional relation that painting opens up is itself part of and emerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory, insofar as he is unable to take into account how materiality is charged with an “attitude towards the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation.

This essay is concerned with the central issue of philosophical anthropology: the relation between nature and culture. Although Rousseau was the first thinker to introduce this topic within the modern discourse of philosophy and the cultural sciences, it has its origin in Diogenes the Cynic, who was a disciple of Socrates. In my essay I (1) historically introduce a few aspects of philosophical anthropology, (2) deal with the nature–culture exchange, as introduced in Kant, then I (3) relate this topic to the Ancient Cynic Diogenes. Surprisingly, although we usually identify Critical Theory and Freudian psychoanalysis as theories that have shown that cultural progress should not be comprehended as a development from nature to culture, and that instead it should be conceived as a development from culture against (external as well as internal) nature, I show that Cynicism can be conceived as a vivid example within the history of our culture that reveals a double sense of repression and alienation, which is part of human civilization and mankind.

In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting opens up is itself part of andemerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory insofar as he is unable to take into account how materiality is charged with an “attitude toward the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation.

To be sure, Hans-Georg Gadamer's philosophy has received increased attention in recent philosophical debates. For although older confrontations, such as Gadamer's debate with Habermas, have receded in the background, scholars such as John McDowell, Cristina Lafont, Ruth Sonderegger, Albrecht Wellmer, and Günther Figal have revitalized some of Gadamer's main philosophical insights and demonstrated the importance of hermeneutics for contemporary philosophy. In addition, the newly-founded Society for Philosophical Hermeneutics has helped to give this recent attention a new academic forum for fresh and vibrant work on Gadamer.Kristin Gjesdal's book fits neatly into this newly-discovered interest in Gadamer's philosophy, especially since it focuses on important, but less frequently discussed, historical sources of Gadamer's philosophy and their systematic impact on both hermeneutics in general and a theory of interpretation in particular. Gjesdal's book is lucidly written, paying much attention to the underlying arguments that are implied in Gadamer's critical and often reductive accounts of philosophers who belong to the tradition of "German Idealism." However, having said this, the title of her book is misleading: though the reader might expect an extensive discussion of Fichte, Schelling, and Hegel, the author focuses mainly on the sources of

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim).