John Montani

This essay examines the relation between music, learning, and λόγος in a few Platonic dialogues. Beginning with the dream Socrates recounts in the dialogue Phaedo, it investigates how music inspires philosophy and how music first arrives as an original capacity to learn. Book III in the Republic is taken up to show how music prepares the soul to learn and directs the course of inquiry. The image of a gentle breeze is traced to bring out a musical element of λόγος which helps move the soul from ignorance into knowledge. Nevertheless, one of the guiding questions of the essay is whether music gets left behind once the soul advances in knowledge. This question bears on another concerning whether Socrates fulfilled his recurring dream by pursuing philosophy rather than making music. The essay sets out to show how music helps us undertake philosophy and how dreams motivate philosophical questions.

One of the aims of phenomenology was to uncover a logic of the sensible world. This essay shows how rhythm can be understood as a logic of the sensible world and how rhythm is not only a profoundly aesthetic experience but one integral to phenomenological reflection. The essay highlights how aesthetic experiences accomplish phenomenological reductions and how phenomenological reflection demands a continued inquiry into the ways intelligibility first opens from within the sensible world. Rhythm is shown to be a preverbal logic and expressive power that takes place between sensing and the sensible. The essay explores how art and phenomenology draw upon rhythms to bring forth senses of experience that normally get passed over and escape conceptual determination. The investigation digs beneath predicated experience and propositional language to reveal how rhythm is a preverbal mode of inquiry that takes place between solicitations made by the sensible and the body’s sensitive responsiveness. Rhythm establishes an original synchronic relation to sensible things that allows nascent forms of intelligibility to come into a dynamic and living clarity. However, rhythms comprise a latent form of intentionality that precedes the act-object schema of intentionality. As a form of intentionality rooted in the senses, rhythm is shown to be a mode of transport that effectuates absorptive experiences which pose unique challenges for phenomenological reflection and aesthetic theory. Nonetheless, rhythm helps clarify one way in which sources of intelligibility not only grow out of the sensible world but retain an enduring aesthetic quality.

ABSTRACT This article argues that Hegel’s speculative logic has an essentially rhythmic structure. Rhythm shows up in paragraphs 56–61 of the Preface to the Phenomenology of Spirit, where Hegel introduces the speculative proposition and explains his speculative logic. The article begins by analyzing some critical sections in the Preface to show how rhythm secures the formal passage of the subject into the predicate within the speculative proposition. Then, I briefly explore how Hegel’s speculative logic gets taken up in the writings of Gadamer and Nancy to show how each of these thinkers renews the rhythm of Hegel’s speculative logic in their own appropriations of it. The article concludes by extending the scope of speculation, taking it from the proposition to non-propositional forms of expression, and then finally to the sensible world.

In this essay, I discuss how Maurice Merleau-Ponty's phenomenology concretizes our understanding of intentionality by rooting it in the body and in the senses in particular. In what follows I attempt to sketch out a version of "poly-intentionality" that I find implicit in Merleau-Ponty's chapter "Sensing" in his Phenomenology of Perception. Within this chapter, Merleau-Ponty argues that sensation is intentional, contrary to Husserl's stance that sensations require apperceptive acts of sense-giving in order to constitute them in experience.1 In addition to arguing for sensation's intentionality, Merleau-Ponty claims that each sense offers its own unique mode of intending. Intentionality, therefore, can...