Carolyn Culbertson

This chapter presents Gadamer’s conception of language and of its role in the process of understanding. The chapter begins by explaining what Gadamer means when he says that language is characterized by an essential “self-forgetfulness” [Selbstvergessenheit] and how this relates to his account of the fore-structure of the understanding. Next, it explains what it means to conceive of a linguistic presentation (e.g., a poem or a lecture) as a hermeneutic event and how this conceptualization is essential to Gadamer’s account of understanding and of the dialectical unity between language and being. The chapter ends by considering how Gadamer’s analysis of conversation further clarifies what it means to be open to the event of language.

Language is often conceived of today as providing a person with a worldview and a set of communicative norms that one accepts unambiguously. However, in his 1992 lecture, “Monolingualism of the Other,” Jacques Derrida insists that his mother tongue is for him “not a natural element, not the transparency of the ether, but an absolute habitat.” In other words, while French is an intimate part of his existence, his relationship to it is nevertheless ambiguous. Derrida claims that his situation is not exceptional though, since for no person is language simply a “natural element.” In this essay, I examine first the phenomenological basis for this controversial claim, drawing from Derrida’s lecture as well as earlier explorations by Martin Heidegger to elucidate the point. Later I turn to address the ethical-political dimensions of Derrida’s claim, explaining how it serves to protest against a problematic process of consolidating power.

This book examines the central role that language plays in understanding and human flourishing. The book begins by exploring Heidegger's idea that language is an essential element of how we dwell in the world and is, for the most part, ready-to-hand for us. With Gadamer, I then begin to explore phenomena where language is not ready-to-hand but calls for interpretation. The latter half of the book explores distinct ways in which language can become unready-to-hand for individuals (e.g., in cases of trauma, depression, and social subordination) and examines the way that such situations have been analyzed by twentieth-century Continental thinkers (e.g., Blanchot, Kristeva, Derrida).

This article examines the meaningful intervention that Gert-Jan Van der Heiden’s recent book, The Voice of Misery: A Continental Philosophy of Testimony, makes in the developing field of the philosophy of testimony. I argue that this intervention is accomplished through a phenomenological investigation into the nature of the testimonial object and of the demand that it makes upon one who bears witness. In taking such an approach, I argue, Van der Heiden initiates an ontological turn in the field of testimonial theory, shifting the conversation away from a debate about the conditions in which belief in testimony is justified – a debate that has in many ways defined the field for philosophers in the Anglo-American tradition. I suggest that Van der Heiden’s account is helpful in demonstrating that, in many cases, doing justice to a testimonial object requires an epistemic-ethical attitude other than belief. The article concludes by developing a few questions for Van der Heiden based on my interpretation of his project, including to what extent his phenomenology of testimony can account for how often our receptivity to testimony depends on the default trust that we have in others by virtue of our fundamental immersion in social life.

There are two attitudes regarding the historical situation of understanding commonly held today. On the one hand, we believe that we only achieve a real, worthwhile understanding of a topic when our thinking manages to break free from the dogmas of the past. We believe that this transcendence of the historical situation of thought is both possible and desirable. We applaud those whose thought appears to us to proceed unhinged by traditional dogmas, whether those dogmas be old habits of scientific thought or traditional ideas about social life. We celebrate as epistemic heroes those who discover their own way of thinking. On the other hand, many are quick to accept as a general rule that one’s understanding is inevitably bound to one’s particular historical and cultural situation. Nobody understands things in a historical vacuum. Accordingly, we believe that there is no transcending the historicity of the understanding and thus no epistemic heroes to applaud. This chapter examines Gadamer's argument in “The Elevation of the Historicity of Understanding" (a central section in "Truth and Method") as a critique of both of these alternatives -- alternatives that can be traced back to the historical epochs of the Enlightenment and Romanticism. I argue that, for Gadamer, both of these historical models of understanding misconstrue the way that understanding is grounded in historical consciousness.

This article takes up the work of Judith Butler in order to present a vision of ethics that avoids two common yet problematic positions: on the one hand, the skeptical position that ethical norms are so constitutive of who we are that they are ultimately impossible to assess and, on the other hand, the notion that we are justified in our commitment to any ethical norm that appears foundational to our identity. With particular attention to the trajectory of Butler’s project from The Psychic Life of Power to Giving an Account of Oneself, the article discusses the shortcomings of these two positions and the virtues of the alternative account that Butler develops during this period

This chapter presents a conception of understanding where understanding emerges out of the joint experience of conversation. On this conception, understanding requires more than the pre-reflective acquisition of shared social meanings – a conception of understanding historically highlighted by existential phenomenologists. Beyond this, it requires what occurs in genuine conversation, namely, that one put one’s pre-reflective social meanings at risk in the process of critical self-reflection. Drawing from the hermeneutic phenomenology of Hans-Georg Gadamer, I argue that conversation is that joint experience that gives rise to such critical self-reflection and that it is conversation’s play-structure in particular that makes it a source of understanding in this sense.

This essay explores the nature of authenticity through a comparison of Martin Heidegger and the classical Buddhist text, the Mumonkan (The Gateless Gate). As Stanley Cavell's interpretations of Heidegger have developed, the peculiarity of Heidegger's sense of authenticity lies in the fact that it requires us, not to negate the inauthentic everydayness into which we are fallen, but to learn to inhabit this everydayness in a new way. The task of authenticity, Cavell argues, involves a recovery and a transformation of this original condition. But just what this transformation involves is tricky. To what extent does authenticity involve taking particular, concrete actions in the world? And insofar as we are never in complete mastery of our actions, how can we ensure that they are authentic? Through a comparison with the Mumonkan, this essay considers how the task of authenticity can be understood as a gateless gate, a way of dwelling in the everyday which affirms our thrownness into a plurality of ways. The essay, thus, argues for different roots than those Cavell finds manifest in Heidegger's philosophy (the traditions of early American transcendentalism and Anglo-American ordinary language philosophy) and thus contributes to the current conversation on the under-appreciated convergences between Heidegger and the Buddhist tradition

On May 18, 1958, Martin Heidegger led a one-day colloquium in Freiburg on the topic of “Art and Thinking” together with Shin’ichi Hisamatsu, the Japanese philosopher and Buddhist scholar. The protocol of the colloquium, published in volume 16 of Heidegger’s Gesamtausgabe, presents a conversation among the colloquium participants about art in the East Asian world. In this conversation, Heidegger is particularly interested in hearing from Hisamatsu about the conception of art present in the East Asian world prior to the introduction of Western aesthetic concepts and about the relationship between form and formlessness in East Asian aesthetics. The conversation allows Hisamatsu to clarify for the participants what he takes to be the most essential features of Zen art and how these features compare with those found in modern Western abstract art.

On May 19th, 1958, the day after Martin Heidegger and Shin’ichi Hisamatsu led a one-day colloquium in Freiburg on the topic of “Art and Thinking,” the two men came together to discuss the success of the colloquium. The conversation soon turned to the work of Paul Klee, the Swiss artist, and from there to the newest developments in Heidegger’s thinking about language. Heidegger had just presented some of this new thinking during his lecture on Stefan George’s poem “Das Wort” in Vienna a week earlier. Having attended the lecture in Vienna, Hisamatsu used the opportunity of the conversation to ask Heidegger for elaboration on this new thinking and to clarify connections between it and language in the Zen tradition. The conversation was transcribed and later published in volume 16 of Heidegger’s Gesamtausgabe.

In cases of depression where linguistic meaning has collapsed, there is good reason to believe that a long-term strategy for recovery must include rehabilitating the depressive person's capacity for meaningful speech. This requires that the patient participate actively in interpreting her own pain. In this essay, I argue that medical diagnosis can tempt patients, particularly women, to circumvent this process of interpretation. To explain this danger, I draw on Julia Kristeva's clinical analyses of depression and recent studies on the correlation between depression and self-silencing.

In his theoretical essays on language, Walker Percy criticizes contemporary linguistics for overlooking the deep, existential impact that language acquisition has on human life. This acquisition, for Percy, radically transforms the human being’s mode of existence. With the acquisition of language, the world and our role in it change. The meaning of the world comes to be revealed through the ongoing life of human discourse: through books, conversations, philosophical inquiry, and so on. This chapter clarifies and elaborates on Percy’s critique by showing how it arises as a central insight in twentieth-century German phenomenology, particularly in the later work of Martin Heidegger and in the hermeneutic phenomenology of Heidegger’s student, Hans-Georg Gadamer.

On May 19th, 1958, the day after Martin Heidegger and Shin’ichi Hisamatsu led a one-day colloquium in Freiburg on the topic of “Art and Thinking,” the two men came together to discuss the success of the colloquium. The conversation soon turned to the work of Paul Klee, the Swiss artist, and from there to the newest developments in Heidegger’s thinking about language. Heidegger had just presented some of this new thinking during his lecture on Stefan George’s poem “Das Wort” in Vienna a week earlier. Having attended the lecture in Vienna, Hisamatsu used the opportunity of the conversation to ask Heidegger for elaboration on this new thinking and to clarify connections between it and language in the Zen tradition. The conversation was transcribed and later published in volume 16 of Heidegger’s Gesamtausgabe.

On May 18, 1958, Martin Heidegger led a one-day colloquium in Freiburg on the topic of “Art and Thinking” together with Shin’ichi Hisamatsu, the Japanese philosopher and Buddhist scholar. The protocol of the colloquium, published in volume 16 of Heidegger’s Gesamtausgabe, presents a conversation among the colloquium participants about art in the East Asian world. In this conversation, Heidegger is particularly interested in hearing from Hisamatsu about the conception of art present in the East Asian world prior to the introduction of Western aesthetic concepts and about the relationship between form and formlessness in East Asian aesthetics. The conversation allows Hisamatsu to clarify for the participants what he takes to be the most essential features of Zen art and how these features compare with those found in modern Western abstract art.