James Risser

The traditional reading of Plato’s criticism of the poets and painters in Book 10 of the Republic is that they merely imitate. In light of Plato’s own image-making, the critique of imitation requires a more careful examination, especially in regards to painting. This paper argues that it is insufficient to view Plato’s critique of image-making by the painter solely in terms of the image replication that does not consider the eidos. In view of the context of Plato’s argument within Book 10 and elsewhere, other considerations, such as the ideas of measure and proportion, which pertain to the notion of the beautiful, are required for a complete understanding of the argument against the painter. In light of these further considerations I argue for a threefold distinction between mimesis as replication, mimesis as false resemblance, and mimesis as true resemblance. With respect to the third kind of mimesis, which directly pertains to Plato’s own image-making, one can see in Plato a different configuration of the relation between image and original portrayed in the image.

This paper explores the place of Hegel in Gadamer's hermeneutics through an analysis of the idea of "infinite dialogue." It is argued that infinite dialogue cannot be understood as a limited Hegelianism, i.e., as the life of spirit in language that does not reach its end. Rather, infinite dialogue can be understood only by taking the Heideggerian idea of radical finitude seriously. Thus, while infinite dialogue has a speculative element, it remains a dialogue conditioned by the occlusion in temporal becoming. This idea is developed further by contrasting Gadamer's position with that of Blanchot, who also stands under the shadow of Hegel.

This paper explores the way in which the art of weaving, as it is initially presented in Plato’s Statesman, serves to configure both the fundamental character ofdiscourse and the limit experience of discourse for Plato. The problem that arises in relation to this configuration pertains to the possible unity of discourse (and with it the acquisition of knowledge). In relation to the hermeneutics of Hans-Georg Gadamer and his reading of Plato, it is argued that the unity of discourse follows “the arithmos structure of the logos” with its distinctive dialectical character. It is concluded that this character expresses the finitude of knowing in which oppositions remain in tension.

This paper assesses the philosophical project of Charles Scott, beginning with his first book, Boundaries in Mind, and including his most recent work on “Bor­dered Americans.” The interpretive focus for the assessment concentrates on what Scott early on characterizes as boundary awareness: the appearing of difference in appearance. In this context, it is argued that what is fundamentally at issue in Scott’s philosophy is a sense of freedom other than that which is associated with subjectivity and its presumed autonomy.

In Gadamer’s hermeneutics, interpretation is inseparable from the broader concern of making one’s way in life. In this book, James Risser builds on this insight about the juxtaposition of human living and the act of understanding by tracing hermeneutics back to the basic experience of philosophy as defined by Plato. For Risser, Plato provides resources for new directions in hermeneutics and new possibilities for "the life of understanding" and "the understanding of life." Risser places Gadamer in dialogue with Plato, with the issue of memory as a conceptual focus. He develops themes pertaining to hermeneutics such as retrieval as a matter of convalescence, exile as a venture into the foreign, formation with respect to oneself and to life with others, the experience of language in hermeneutics, and the relationship between speaking and writing

This paper attempts to define Dennis J. Schmidt’s distinctive contribution to philosophy and to contemporary hermeneutics in particular under the heading of an ethical hermeneutics. The idea of an ethical hermeneutics is considered in relation to four aspects: 1) the element of practice as the constitutive element of ethical hermeneutics; 2) the force of practice: finitude; 3) the idiom as the place of finitude; 4) ethical hermeneutics and the domain of the common. The fourth aspect constitutes the critical engagement with the idea of an ethical hermeneutics, arguing that the notion of the common, which is underdeveloped in Schmidt’s writings, serves as a practical “concept” that takes the place of the theoretical concept in an ethical hermeneutics.

This book is a focused study of the specific problem in aesthetics of literature's relation to truth. The authors's treatment of the problem is both expansive and highly nuanced, undoubtedly a result not only of the co-authoring of the book, which by all indications is a true collaborative effort, but also of the fact that the book is the product of a decade of work on the problem. The division of labor for the book, though, is obvious in the treatment of different aspects of the problem. Lamarque is principally responsible for the first two parts of the book, while Olson takes primary responsibility for part three, "Literature and Truth."