Michael Deckard

Paul Ricoeur’s presentation of “Consciousness and the Unconscious” at a colloquium in Bonneval from 1960 cannot make sense until afterwards, which is fundamental to Freud’s notion of Nachträglichkeit, often translated as aprèscoup or afterwardsness. This chapter is an uncovering of the Freudian concept of Nachträglichkeit in Ricoeur’s own philosophical biography and writing. A reading of Freud’s text from 1914 (“Remembering, Repeating, Working-Through”) reveals how the work of mourning and the work of memory were already interlaced from Freedom and Nature to Living Up to Death. If Descartes is right about the cogito, then there cannot be a distinction between the two concepts of consciousness and an unconscious, and the apre`s-coup cannot exist. But Freud’s notion of working-through (perlaboration) finds a possible way out of this impasse. The little miracle of memory, the opposite of which is repetition toward compulsion (or hell), may resurrect the dead. The underworlds of Homer, Virgil, and Dante are taken up in 20th-century philosophy and psychoanalysis. At the core of this philosophical or psychological work is Ricoeur’s powerful claim: “consciousness is not given but a task.”

In 1665–1666, both Margaret Cavendish and Robert Hooke wrote about the beard of a wild oat. After looking through the microscope at the wild oat, Hooke describes the nature of what he is seeing in terms of a “small black or brown bristle” and believes that the microscope can improve the human senses. Cavendish responds to him regarding the seeing of the texture of a wild oat through the microscope and critiques his mechanistic explanation. This paper takes up the controversy between Cavendish and Hooke regarding the wild oat as two forms of a broadly Baconian enterprise. Challenging Lisa Walters and Eve Keller, who suppose that Cavendish was against the “Baconian enterprise as a whole,” the argument in this paper is that Cavendish is opposed to Hooke’s defense of instruments as recovering Edenic glory in the Micrographia, but not to the Baconian enterprise as a whole.

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance.

This paper argues that Jan Patočka and Paul Ricoeur endured their own cognitive-spiritual crisis, particularly during the development and outbreak of war in the 1930s. Their philosophies of history are thus, on the one hand, born of a rethinking of modern philosophy from the time of Galileo and Descartes, and on the other, a suffering of crisis that Europe itself was suffering. Stemming from the historical and philosophical context of Husserl’s epistemology in the Krisis, both Ricoeur and Patočka had to confront history and the decadence of European sciences, as it concerns the difficulty of remembering the past and describing events in history. These responses to the problem of modern philosophy and science in Europe point to the symptom of spiritual crisis due to ‘modern man’ having no unified worldview. By means of care of the soul and the challenging of the state in action, a hermeneutics of peace emerges from their spiritual crises.

Philosophy begins in wonder, according to Plato and Aristotle. However, they did not expand a great deal on what precisely wonder is. Does this fact alone not raise curiosity in us as to why this passion is important? What is its role in our thinking except to end as soon as one begins conceptually delimiting its nature? The thinkers Thomas Hobbes and René Descartes both expanded upon earlier brief articulations of wonder in natural, supernatural and practical ways. By means of an historical and philosophical examination of these two early modern thinkers, this article hopes to begin to answer the question: ‘What is wonder?’

In the Critique of the Power of Judgment, Kant mentions transcendental and physiological judgments in their relationship to the sublime. He further mentions that for the best physiological treatment, one must look to Edmund Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Whereas for Burke, the feeling of the sublime “is based on the impulse toward self-preservation and on fear,” for Kant it is the mind that “is not merely attracted by the object, but is also always reciprocally repelled by it,” which provides the basis for the transcendental exposition of aesthetic judgements. How does a reading of Burke in which “we shrink into the minuteness of our own nature, and are, in a manner, annihilated before the almighty power,” on the one hand, and Kant’s view of relation and purposiveness in transcendental judgements, on the other hand, aid us in a deeper understanding of the fear of God? Furthermore, how might these two authors connect or interact with contemporary theories of emotion, specifically the discussion of ‘ambivalent emotions’? In this paper, I hope to both open a discussion of Burke and Kant in relation to their respective readings of the sublime and the fear of God as well as open a discussion of emotions regarding a ‘mighty object’ to whom my ambivalent emotion is directed.

Attracting philosophers, politicians, artists as well as the educated reader, Edmund Burke’s Philosophical Enquiry, first published in 1757, was a milestone in western thinking. This edited volume will take the 250th anniversary of the Philosophical Enquiry as an occasion to reassess Burke’s prominence in the history of ideas. Situated on the threshold between early modern philosophy and the Enlightenment, Burke’s oeuvre combines reflections on aesthetics, politics and the sciences. This collection is the first book length work devoted primarily to Burke’s Philosophical Enquiry in both its historical context and for its contemporary relevance. It will establish the fact that the Enquiry is an important philosophical and literary work in its own right.