Christian Lotz

Der vorliegende Band versammelt Beiträge von Philosophen und Philosophinnen innerhalb der phänomenologischen Forschung, speziell derjenigen Husserls. Die Beiträge zeichnen sich durch ihre innovative Kraft aus, da sie Neuland betreten und der phänomenologischen Forschung neue Wege eröffnen. Die Beiträge repräsentieren den gegenwärtigen Forschungsstand auf internationalem Niveau. Forscher und Forscherinnen aus Österreich, Deutschland, Dänemark, Japan, Taiwan, Italien und den USA sind versammelt. Dieser Band enthält fünf Beiträge in englischer Sprache.

In this paper, I first argue that Lucien Goldmann’s attempt to confront Heidegger and Lukács, though it deserves to be revitalized, remains ultimately insuficient. Second, I propose that a more fruitful reading of Heidegger and Lukács should be based on three aspects: first, Lukács’ concept of social totality should be related to Heidegger’s concept of world. Second, the more meaningful way to confront Lukács and Heidegger on the level of praxis is not the everyday dealings with ready-to-hand things, but, instead, the second division of Being and Time in which a political concept of subjectivity and action comes to the forefront. Third, a proper approach to Heidegger’s and Lukács’ philosophies should be based on their respective appropriation of the concept of categories.

In his new book, Lambert Zuidervaart argues that the concept of propositional truth remains one-dimensional and needs to be extended by and embedded in several versions of what the author calls “existential truth,” which he discusses in relation to phenomenology and critical theory. Zuidervaart focuses on key figures of twentieth-century German philosophy, such as Edmund Husserl, Martin Heidegger, Theodor Adorno, Jürgen Habermas, and Max Horkheimer. According to the author, his book “does not intend to be a historical narrative” ; nor does it intend to present “a few nuggets of insights from continental writings”. Instead, Zuidervaart tries to reconstruct the primary material and immanently criticizes the...

In this essay, I offer thoughts on the constitution of images in art, especially as they are constituted in painting and in photography. Utilizing ideas from Gadamer, Derrida and Adorno, I shall argue that representation should be conceived as a performative concept and as an act of formation; i.e., as a process rather thanas something "fixed." My reflections will be carried out in connection with a careful analysis of Gerhard Richter's painting Reader (1994), which is a painting of a photograph that depicts a female who is reading. I demonstrate how a close analysis of this fascinating painting leads us deeper into the problem of painted images, insofar as it enacts what it is about, namely, the constitution of itself as an innige by means of a complex and enigmatic relationship between seeing, reading, memory, inner, outer, gaze and blindness.

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.

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 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).

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.