Ashley Woodward

This fully revised and updated 2nd edition provides a comprehensive reference guide to existentialism, featuring key chapters on key existentialist thinkers, as well as chapters applying existentialism to subject areas ranging across politics, literature, feminism, religion, the emotions, cognitive science, and poststructuralism. Contemporary developments in the field of existentialism that speak to issues of identity and exclusion are explored in 4 new chapters on race, gender, disability, and technology, whilst the 5th new chapter new chapter outlines analytic philosophy's complicated relationship to existentialism. Presenting the field of existentialism beyond the European tradition, this edition also includes a new key thinker chapter on Frantz Fanon, alongside Kierkegaard, Nietzsche, Heidegger, Sartre and de Beauvoir, as well as new engagement with the work of scholars on race and existentialism, including Lewis R. Gordon, George Yancy, and Richard Wright. The resources section at the end of the book includes an updated A to Z glossary, and timeline of key events, texts and thinkers in existentialism, as well as a list of relevant organisations, and an annotated guide to further reading, making this 2nd edition an invaluable text for scholars and students alike.

This paper explores the theme of education and the posthuman from the perspective of French philosophy. It addresses a crisis in eduction today identified by Michel Serres: now that knowledge is widely and freely accessible through information technologies, what is the purpose of education? A response is developed through three conceptual terms prefixed with ‘post’: the postmodern, the posthuman, and through the proposed idea of ‘postinformation.’ The background to the problem is sketched in terms of the ‘postmodern,’ with reference to Lyotard’s influential The Postmodern Condition. A theory of the posthuman, which synthesises Stiegler’s ‘exorganism’ and Floridi’s ‘inforg’, is then sketched in response to Serres’ question of who the subject of education is today. The response to the crisis the paper proposes is that the purpose of education today is not to transmit information, but to help shape posthuman subjects able to process it effectively. This means helping them to learn how to navigate the complex informational networks we now inhabit so that they are able to flourish. The concept of postinformation is designed to help facilitate this educational shift in perspective. Postinformation concerns not just informational content, but the constitutive function of information and information technologies.

This article explores the theme of nihilism from the perspective of post-continental philosophy by focusing on semiotics and information theory and the question of “meaning” at stake between them. Nihilism is characterised here as an avatar of the counter-Enlightenment tradition. Post-continental philosophy is defined by a positive revaluation of reason, science, and technology, which were critiqued for their nihilistic effects by key continental philosophers. Rather than critiquing nihilism, then, post-continental philosophers have tended to affirm it. This article argues that, despite appearances, such developments in fact allow a deepened response to nihilism, considered as an existential problem. It does so by using Lyotard’s critique of semiotics to show how the kind of linguistic and cultural meaning associated with continental philosophy is itself a kind of nihilism. It then examines Meillassoux’s theory of the meaningless sign and Laruelle’s idea of the secret truth of Hermes to argue that this new paradigm of post-continental philosophy allows a response to nihilism by offering an alternative to semiotic meaning. Thus freed, this new paradigm allows the embrace of information theory as a plural articulation of meanings grounded in meaningless data, which enables a superior response to nihilism in the information age.

The question of Nietzsche’s use of political theory has a long and vexed history. The contributors of this book re-situate debates around the notion of difference, in relation to historical and scholarly concerns, but with a view to the current political context. Given that today we are faced with a host of political challenges of domination and resistance, the question raised in this volume is how Nietzsche helps us to think through and to address some of the problems. The authors also discuss how his writings complicate our desire for swift solutions to seemingly intractable problems: how to resist slavishness in thought and action, how to maintain hard-won civil liberties and rights in the face of encroaching hegemonic discourses, practices and forces, or how to counteract global environmental degradation, in short, how to oppose ‘totalitarian’ movements of homogenization, universalization, equalization, and instead to affirm, both politically and ontologically, a culture of difference.

Ashley Woodward demonstrates what a new generation of scholars are just discovering: that Lyotard's incisive work is essential for current debates in the humanities. Lyotard's ideas about the arts and the confrontations between humanist traditions and cutting-edge sciences and technologies are today known as 'posthumanism'. Woodward presents a series of studies to explain Lyotard's specific interventions in information theory, new media arts and the changing nature of the human. He assesses their relevance and impact in relation to a number of important contemporary thinkers including Bernard Stiegler, Luciano Floridi, Quentin Meillassoux and Paul Virilio.

The ‘French reading’ of Nietzsche crystallized almost 50 years ago at the 1972 conference at Cerisy-la-Salle, Nietzsche aujourd’hui. An earlier version of this paper was presented at the annual conference of the Friedrich Nietzsche Society, with the theme of ‘The Politics of Difference’, Newcastle University, 20–21 September 2018. Nietzsche’s fortunes have since undergone some dramatic shifts in France, but there are signs that he is once again on the ascendency, in particular the 2016 edited collection Pourquoi nous sommes Nietzschéens (a direct riposte to the 1991 Pourquoi nous ne sommes pas Nietzschéens). Taking a bearing from the French readings, I want to explore the question of what ‘Nietzsche today’ might mean for us today. At Cerisy in 1972, the meaning of Nietzsche was centred on the twin critiques of humanism and capitalism. While these issues persist, several articles in the 2016 collection indicate that they are now inflected through the vast contemporary significance of technology. One of the key debates here is Nietzsche’s significance for transhumanism. For Bernard Stiegler, transhumanism is the culmination of nihilism, understood as the reign of big data and the total quantification of the self. In this regard, he alludes to a ‘hypernihilism’ of the contemporary era, characterised by the quantifying effects of information technologies, which work in conjunction with capitalism to produce an ultimate ‘averaging’ force. I will argue that Stiegler gives an essential corrective to the largely critical engagements with neonihilism of the Nietzscheans of the previous generation, but that his emphasis on the value of negentropy risks reaffirming the logic of the transhumanism he critiques. Nietzscheanism today, I will argue, requires an appreciation of the dual tendencies of nihilism – identified here as neonihilism and hypernihilism – such that we must draw on contributions from both generations of French Nietzscheans in order to think and respond to the problems of our contemporary era.

This collection presents, for the first time in English, Jean-Francois Lyotard's major essays on film: 'Acinema', 'The Unconscious as Mise-en-scene', 'Two Metamorphoses of the Seductive in Cinema' and 'The Idea of a Sovereign Film'. Then, eight critical essays by philosophers and film theorists examine Lyotard's film work and influence across two sections: 'Approaches and Interpretations' and 'Applications and Extensions'. These works are complemented by an introductory essay by leading French scholar Jean-Michel Durafour on Lyotard's film-philosophy, an overview of Lyotard's practical film projects written by his collaborators Claudine Eizykman and Guy Fihman, and the synopsis for a later film project Memorial Immemorial, which Lyotard proposed but was not produced. Jean-Francois Lyotard was the most significant aesthetician of the poststructuralist generation, but this dimension of his thought is only recently beginning to receive the attention it deserves in the English-speaking world. He devoted a number of essays to film, and was involved in making several experimental short films. Lyotard's reflections on film offer a perspective which seeks to do justice to it as an art by focusing on its aesthetic, material qualities. His work in this area remains a largely untapped resource, with the potential for inaugurating exciting new directions in film-philosophy.

Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.

The Continuum Companion to Existentialism offers the definitive guide to a key area of modern European philosophy. The book covers the fundamental questions asked by existentialism, providing valuable guidance for students and researchers to some of the many important and enduring contributions of existentialist thinkers. Eighteen specially commissioned essays from an international team of experts explore existentialism’s relationship to philosophical method; ontology; politics; psychoanalysis; ethics; religion; literature; emotion; feminism and sexuality; cognitive science; authenticity and the self; its significance in Latin American culture; and its contribution to the development of Poststructuralism. In addition, five short chapters summarise the status of canonical figures Kierkegaard, Nietzsche, Heidegger, Sartre and de Beauvoir, delineating the historical approach to their work, while pointing to new directions such research is now taking. Featuring a series of indispensable research tools (A to Z of terms, concepts and thinkers; timeline of existentialism; list of resources and an annotated guide to further reading), this Companion is an essential tool to help the new reader navigate through the heart of Existentialism and modern European philosophy.

:The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have appeared in English translation: “Acinema” and “The Unconscious as Mise-en-Scène.” I offer an analysis which also incorporates his two other important essays on cinema, “Deux métamorphoses du séduisant au cinéma” [Two Metamorphoses of the Seductive in Cinema] and “Idée d'un film souverain” [The Idea of a Sovereign Film]. The interest of the former is that it makes most explicit the aesthetic politics – evident in many of Lyotard's writings on art – specific to cinema. In the latter, Lyotard gives his most extensive treatment of cinema, and frames it in terms of Bataille's notion of sovereignty. I offer an interpretation of Lyotard's philosophy of cinema which links these quite disparate essays, foregrounding the political dimension of the sacrificial economy of images he proposes: films of any variety, even commercial cinema, may include some sequences and images which are “sacrificial” in that they are “other” to the chronological narrative of the whole. These images liberate us from the seductive effects of the narrative, and the invitation to fantasise, which act as means of imposing and reproducing dominant social and cultural norms.

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.

This article surveys the notion of the event as it is treated in Lyotard’s works, and examines the implications of this treatment for his method, and for critical theory in general. While the event is of importance to many influential French philosophers, it is arguably Lyotard who has positioned his philosophy most central around the problem of accounting for events. For Lyotard, an event is an occurence which cannot be predicted in advance, and cannot be fully determined in retrospect. An event is "nothing," in so far as it cannot be captured in theoretical representations, but it is of import to theory in so far as it disrupts representations and indicates their limits. Lyotard's work engages with the problem of the event both theoretically and performatively, not only discussing the nature of the event, but letting it govern his methodology. This chapter outlines the way in which Lyotard's engagement with the event demonstrates the implications of this notion across a wide variety of critical concerns, including metaphysics, epistemology, aesthetics, ethics, and politics. It also distinguishes Lyotard’s understanding of the event from that of other French philosophers, such as Derrida, Deleuze, and Badiou. While this chapter does not explicitly treat of the book’s main themes, its placement as the first chapter serves a general introductory function, outlining the main phases and concepts of Lyotard’s work which are frequent points of reference in the proceeding chapters.

Gianni Vattimo occupies the relatively rare position of being both a prominent philosopher and an engaged politician. This article outlines Vattimo’s philosophy of “weak thought” and his democratic socialist politics, and argues that there is a “gap” between them: his stated political positions seem at odds with aspects of his philosophy. This gap between the phi- losophical and the political is examined with reference to the topic of globalised capitalism. I then apply Vattimo’s own strategy in reading other philosophers to his thought, attempt- ing to draw out the possible political implications of weak thought against his own stated position. I do this through the application of one of Vattimo’s central concepts, Verwindung (―twisting-free‖), to globalised capitalism. I conclude with some reflections on the prospects for a politics of weak thought.

A connection is often made between postmodernism and nihilism, but the full meaning of such a connection is rarely explored. The contemporary Italian philosopher Gianni Vattimo is one of the few philosophers to have devoted much work to explaining this connection. Vattimo extrapolates the relevance of Nietzsche’s theory of nihilism for the postmodern condition, arguing that the concept of the postmodern can only be thought rigorously in relation to the nihilistic destiny of the West. This article explores Vattimo’s postmodern reading of Nietzsche and argues that this reading helps to illuminate (1) the connection between nihilism and the postmodern; (2) the postmodern transformation of nihilism, which was originally a theory of the ails of modernity rather than of postmodernity; and (3) why postmodernists may wish to affirm nihilism rather than take the accusation that postmodernism is nihilistic as a charge that must be refuted.

This chapter explores Lyotard’s aesthetics in relation to the artist Yves Klein. Through the different activities of philosophy and art, Lyotard and Klein both explore the nature of sensibilité through an investigation of matter. Both paradoxically conclude that matter is in a sense immaterial. Lyotard understands matter as that part of an artwork which is diverse, unstable, and evanescent: in music, this corresponds to nuance and timbre, and in painting, to colour. Following Kant’s aesthetics, Lyotard interprets matter as that which defies conceptual grasp or rational calculation. From the point of view of the concept, then, matter appears as immaterial – it is nothing at all. Klein develops his meditation on matter firstly through his monochrome “propositions,” calling attention to pure colour (in particular, blue), which he theorises as stabilisations of energy. Beyond this, Klein invents “immaterial” works, such as the famous Void exhibition (an empty room in a gallery), and his Zones of Immaterial Pictorial Sensibility. Klein understands these immaterial works as presenting matter in its “prime state,” as energy diffused in space. This chapter develops the confluences between Lyotard’s and Klein’s reflections on “immaterial matter,” and seeks to show how the results achieved in each area of activity (philosophy and art) can contribute to the other. Lyotard’s aesthetic theory provides the basis for a new interpretation of Klein which provides an alternative to his common reception as a Conceptual artist. Klein’s work, on the other hand, not only acts as a profound example of Lyotard’s theory, but functions as a corrective to Lyotard’s emphasis on the negative and privative nature of sensitivity to matter by demonstrating the creative and life-affirmative potential of such sensitivity.