Max Deutscher

Paul Celan’s ‘Speeches’ determine what poetry is and why we need it. He does not want ‘timeless’ poetry but still ‘lays claim to infinity’; he would ‘reach through time’. He neither refuses poetry as contrary to reason, nor elevates it as pure immediacy of meaning. He questions the ambivalent attitudes towards art—as ‘artifice’ or as ‘profound’. Celan cuts into the loose fabric of such ordinary language to shape it. Those who trumpet ‘plain sense’ against such incisive art deface it as degenerate. Celan’s poetic language presents us as ‘of the earth’ and as ‘released from it’—Büchner’s Lenz seeks clarity in the silence of alpine light but falls into madness in his isolation. He is drawn towards the life of the villagers at the foot of the mountains. He perceives the warm household fires, but it is an illusion that he can be a part of that scene. Thus, Celan enquires into art’s intensity. It is at the risk of reciprocity that a reader entertains the language of a poem. Eliot’s old ‘shadow’ between ‘the idea and the reality’ now falls between the poet’s production and the reader’s reciprocation. The reader may need someone with a free hand to hold a lantern to the script.

Spivak translates Derrida’s “il n’y a pas de hors-texte” as “there is nothing outside the text.” By considering how the aphorism works within his study of Rousseau on sexual and textual supplements, and by reviewing related expressions in French, a mistranslation is revealed. This is not a simple error, however. The distortion is generated by Derrida’s own broader context. We must not only distinguish signification from reference but also place the aphorism within Derrida's allusion, in the first part of Of Grammatology, to an all-embracing arche-writing. The paper ends in thus opening out the discussion of a textual “inside” or “outside.”

Developing a reading of some of Beauvoir and Sartre's most influential writings in philosophy, Max Deutscher explores contemporary philosophy in the light of the phenomenological tradition within which Being and Nothingness and The Second Sex occurred as striking events operating on the border of the modern and the 'post-modern'. Deutscher traces the shifts of genre that produce their gendered philosophies, and responds in terms of contemporary experience to the mood and the arguments of their works. Drawing upon the writings of two contemporary critics in particular - Michele Le Dœuff and Luce Irigaray - Deutscher reworks this part of philosophy's history in order to advance thinking in contemporary philosophy, generate renewed philosophical reflection on consciousness, freedom and one's relation to others, and to return a look still cast in our direction from an earlier time.

The general context of this writing is that of finding exits both from dualism and from reductive physicalism. Dualism—the attitude of seeing and taking things according to a fixed absolute distinction, with mind as invisible, conscious ‘containing’ the thought, feeling and sensation ‘hidden’ by body. Reductive physicalism—the attempt to grasp and be satisfied with body as left over by dualism's rape of its mentality, dualism's refusal to recognize the distinctiveness of point of view, as requiring a bodily mentality. Physicalism finally supplants an ‘inner life’ within the bodily vacancy after all, as in traditional dualist image, but now understands that ‘inner’, ‘conscious’ life in the terms pertaining to processes in the brain, rather than as deeds, passions, thoughts, reasoning as within the general ‘imaginary’ of our several minds

Spivak translates Derrida’s “il n’y a pas de hors-texte” as “there is nothing outside the text.” By considering how the aphorism works within his study of Rousseau on sexual and textual supplements, and by reviewing related expressions in French, a mistranslation is revealed. This is not a simple error, however. The distortion is generated by Derrida’s own broader context. We must not only distinguish signification from reference but also place the aphorism within Derrida’s allusion, in the first part of Of Grammatology, to an all-embracing arche-writing. The paper ends in thus opening out the discussion of a textual “inside” or “outside.”

"hintikka's conception of epistemic logic" is a critical comment on hintikka's defence of his philosophical method ("epistemic logic and the methods of philosophical analysis", "a.J.P." no.1, 1968). There is a discussion of the symbolization and analysis of "a knows that p", "a knows that he knows that p", And the notions of virtual equivalence and virtual implication. The conclusion drawn is that whereas hintikka thought his critics misunderstood his method, In fact they were attacking his employment of it.

It is argued that 'p but I do not believe that p' seems close to a contradiction because if the speaker is correct in all that s/he says then what s/he says is false. Similarly,what is wrong with 'p, but I have no opinion whether p' is that, whether 'p' or 'not-p', if the speaker believes it, s/he cannot be completely correct. The argument assumes that 'I believe that' is not a mere parenthesis as in 'p, I believe', and that to say 'I believe that p' is not only to claim a certain mentality, but to claim to be correct or mistaken depending upon whether 'p' is true or false.

There is a tradition of philosophy—a conception we can easily under-stand as a limit of a tendency of our own thinking—that philosophy consists only of argument. The rest of the vast prepon-derance of words in philosophical texts is simply embroidery. ‘Naturally’, it will be conceded, actual philosophy books contain more or less of verbal pictures, words and phrases whose purpose is to evoke images, and many stories—examples, hard cases for definitions, and 4 anecdotes. These, it will be said, ‘are only the embellishments, the relief from work, the appetizers or the post-prandial delicacies.’