Philip Mills

The notion of poethics has been used to approach the way in which forms of language and forms of life are interdependent and to reveal the ethical dimension of poetics. However, the interaction must go both ways; there must not only be an ethical dimension to poetics, but also a poetic dimension to ethics. To what extent is ethics dependent on poetics? In this essay, I argue that Nietzsche’s life-affirming ethics can be understood only in this poethical framework. The specificity of Nietzsche’s ethics, and why it is so difficult to locate on the spectrum of ethical theories, lies in the fact that his ethics is a poetics. By focusing mainly on The Gay Science, I explore the interaction between ethics and poetics that lies at the heart of Nietzsche’s ethical thought. Both poetics and ethics involve the question of value, and a poetic ethics (a poethics) reveals that the creation of ethical value is something necessarily poetic. Nietzsche’s ethics of creation is not a mere theory, but a poetic way of life.

How can Ordinary Language Philosophy (OLP) help us understand poetry? Against John L. Austin’s exclusion of poetic utterances as parasitical, Philip Mills explores how contemporary poetics broadens the aims and scope of OLP. Through the analysis of French and American poetry that reinterprets notions such as illocution, perlocution, and language-games, Mills develops a poetic philosophy of language, revealing its viral and transformative nature. Poetry, Performativity, and Ordinary Language Philosophy bridges philosophy and poetry, showing how poetry contaminates and reshapes our ways of thinking and being in the world, and combining the poetic and the ethical in the notion of ‘poethics.’ This Open Access book offers a new perspective on the poetic and literary potential of OLP and the intersections between the philosophy of language and poetry.

What can we learn from Lyotard’s reading of Wittgenstein regarding contemporary debates around deep disagreement? It has been shown that Lyotard’s notion of differend can offer a new perspective on deep disagreement, and I expand on this idea by looking at what we can take from Lyotard’s reading of Wittgenstein to reconsider the notion of hinge commitments or propositions. Rather than considering the way Lyotard misreads some of Wittgenstein’s ideas, as many scholars have shown, I focus on the positive dimension of Lyotard’s reading, investigating what he does with Wittgenstein’s ideas, and perhaps also what he does _to_ Wittgenstein’s ideas. In _The Differend_, Lyotard brings Wittgenstein on a political terrain with which he is quite unfamiliar. I argue that Lyotard’s reading offers a specific interpretation of the notion of form of life, and that insisting on this notion shifts the focus from the epistemological dimension of hinges to the moral dimension of life—existential, political, and even aesthetic. To do so, it is necessary to understand how Lyotard reshapes Wittgenstein’s thought, and how the notions of _phrase_, _phrase regimen_, and _genre of discourse_ relate to Wittgenstein’s language-games and forms of life.

Nietzsche’s analysis of society—its decadence and nihilism—has been quite influential among 20th century art movements; his diagnostic of culture and his response to it inspired many artists and still does nowadays. His critique of traditional culture—and this concerns as much morality, science, religion, philosophy than art—calls for a revaluation of all values, that is a profound modification of the foundations of culture. One of the most influential art movements which was inspired by this idea is Dada, an art movement born in 1916, at the height of World War One. Dada rose in a context of European crisis and one of its most terrible symptoms: war. Dada, like Nietzsche, aims to overcome traditional culture and society. More than a hundred years after Dada’s birth, Europe is in no less a crisis (even though it takes a different form) and the response Dada offered—and Nietzsche’s influence on it—might be some place to which return. Inasmuch as Nietzsche returned to the Greeks looking for a rebirth of tragedy, we might need a rebirth of Dada to respond to the contemporary crisis. Dada’s attitude towards society and tradition—and Nietzsche’s attitude towards culture—can be characterised as warlike. And this warlike attitude does not mean that war is the solution, quite the contrary as Dada attempts to escape the on-going war, but that in order to overcome society and create something new, we must take risks. Against the destruction that was surrounding them, Dada’s founders engaged in a playful and joyful creation through the undermining of traditional forms of art. Culture should not follow the ways of tradition but express a break with it by creating new traditions. My paper therefore focuses on three aspects: first on Nietzsche’s and Dada’s diagnostic of culture, secondly on their response to the crisis they diagnose, and thirdly on the answer they offer to exit the crisis and the role of the joyful creation of art in this undertaking.

When one first encounters Nietzsche’s or Wittgenstein’s writings, one is generally surprised by their style of writing which seems to depart from the philosophical norm of structured argumentation. And when one attempts to compare Nietzsche and Wittgenstein, their styles seem to be an important common feature. But is this claim only superficial or does it have deeper philosophical roots? This chapter aims to show that Nietzsche and Wittgenstein share a common concern with style that is rooted in core philosophical issues, especially their critique of metaphysics and their revaluation of the relation between philosophy and poetry. The argument is divided into three parts: the first part focuses on style as a tool for criticism in order to show how Nietzsche and Wittgenstein use stylistic criticism against traditional (systematic) philosophy; the second part shows how this criticism leads to a revaluation of the relation between philosophy and poetry; the third and final part argues that the aphoristic writing they each practise is a way of finding a philosophical style that embraces the poetic rather than rejects it.

Nietzsche’s metaphor of seduction suggests that language catches philosophers in the trap of metaphysics. Nietzsche uses the poetic powers of language to fight against this metaphysical language. However, his use of the metaphor of truth as a woman seems to seduce him back in metaphysics. Metaphors become seductive because of their rhetorical and performative power. One must therefore be wary of the seduction of metaphors when attempting at revaluating the metaphysics of language. Hélène Cixous undertakes such a task, using a poetic language in order to escape the metaphysical dualisms embedded in language without falling back into its traps.

Abstract:Austin’s (in)famous characterization of poetry as parasitical has been subject to many interpretations, from Derrida’s considering it a limit of and a central problem in Austin’s theory to Cavell’s attempt to reintegrate poetic uses of language within the framework of Ordinary Language Philosophy. In this essay, I argue that poetry, rather than being excluded from the realm of the performative, can be considered as a performative dispositif that acts upon ordinary language and, through it, upon our forms of life. To reevaluate poetry, I suggest moving from the ‘parasite’ metaphor (poetry is passively feeding on ordinary uses of language) to a ‘virus’ metaphor (poetry is actively disrupting ordinary uses of language). By building on works of French theorists and poets Christophe Hanna, Franck Leibovici, and Manuel Joseph among others, I explore how poetry reveals the virality of language.

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language. Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgenstein's thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition of philosophy of language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities.

Although perlocution has received more interest lately, it remains the great unthought of Austin’s theory. The privilege he gives to illocution over perlocution, rather than being a necessity of his linguistic theory, is a contestable philosophical claim that leads him, I argue, to exclude from his consideration poetic and other ‘parasitical’ uses of language. Cavell’s reconceptualisation of perlocutions as ‘passionate utterances’, however, provides a more fruitful theoretical framework to approach poetic phenomena. Reading Austin through a Cavellian lens offers keys to make space for the parasitic uses Austin rejected and for poetry within a philosophy of language.

Against the apparent casting away of poetry from contemporary philosophy of language and aesthetics which has left poetry forceless, I argue that poetry has a linguistic, philosophical, and even political force. Against the idea that literature (as novel) can teach us facts about the world, I argue that the force of literature (as poetry) resides in its capacity to change our ways of seeing. First, I contest views which consider poetry forceless by discussing Austin’s and Sartre’s views. Second, I explore the concept of force in the realm of art—focusing on Nietzsche’s philosophy and Menke’s Kraft der Kunst—and the relations between linguistic, artistic, and political forces. Third, I consider how the transformative force of poetry can be considered political by turning to Kristeva’s Revolution in Poetic Language and Meschonnic’s conception of poetry according to which the poem does something to language and the subject. To illustrate this transformative force of poetry, I analyse Caroline Zekri’s poem ‘Un pur rapport grammatical’. I therefore think of poetry not only as doing something with language, but also as doing something to language. To rephrase Austin’s famous title, and thus reverse his evaluation of poetry, poetry might reveal to us not only How to Do Things with Words, but how to do things to words and, through this doing, how to transform and affect the world.

It is no secret that, for Nietzsche, philosophy and poetry are closely related. Some of his most important works contain poems, or even present themselves as poetry. Yet, in their efforts to make Nietzsche a respectable philosopher, scholars have turned their attention away from this poetic dimension and have privileged instead the philosophical dimension of his work. The title of the present volume, Nietzsche als Dichter, echoes Arthur Danto’s influential Nietzsche as Philosopher, and therefore aims to reinstate the part previously left aside. In order to do so, the articles in the volume focus on specific poems or poetic aspects of Nietzsche’s...

It is common knowledge that Nietzsche is very critical of traditional philosophy and strongly opposes a number of philosophers, but Alain Badiou goes beyond this claim to interpret and classify Nietzsche as an “antiphilosopher.” As such, Badiou’s interpretation belongs to the vast literature focusing on Nietzsche’s critique of metaphysics and truth. However, Badiou goes a bit further and develops a notion of “antiphilosophy” that not only is critical but also has a positive impact: Nietzsche is not only a critic of metaphysics, but he is also an antiphilosopher like Pascal or Rousseau. Nietzsche. L’antiphilosophie I is the transcript from a seminar Badiou gave in 1992–93 and, as the title suggests, is...