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From Descartes to the present, there has been a call for a new beginning in philosophy. Contemporary continental philosophy and American pragmatism continue to proclaim the end of one philosophic tradition and the beginning of another. The basis for many of these developments is the repudiation of metaphysics. The purpose of this book is to rethink the metaphysical traditions in terms of the continental and pragmatist critiques, rejecting a single view. The major works in the tradition are viewed as heretical. Philosophy has recurrently acknowledged aporia: "moments in the movement of thought in which it finds itself faced with unconquerable obstacles resulting from conflicts in its understanding of its own intelligibility." A chapter is devoted to each of the eight major philosophers and movements in the Western canonical tradition: the pre-Socratics, Plato, Aristotle, Spinoza, Leibniz, empiricism, Kant, and Hegel. The last three chapters are devoted to contemporary discussions of the end of metaphysics, including the development of a "local" metaphysics that is able to express its own locality and aporia.
The studies in this volume focus on works of art that generate bafflement, and that make that difficulty of reading part of their rhetorical structure. These are works whose subjects are not easily identifiable or can be readily associated with more than one subject at the same time; works that take a subject into a new genre or format (pagan into Christian, for example, or vice versa), and thus destabilize the subject itself; works that concentrate on the marginal rather than the central episode; and works that introduce elements of the preparatory phase-the indeterminacy that are native to the sketch or drawing, for example-into the realm of finished works. Unable to settle on a single reading, the effort of interpretation doubles back on its own procedures. This aporia, according to Aristotle, serves as the initial impulse to philosophical inquiry. Although the works studied here are in many ways exceptional, the aporias they raise register larger structural problems belonging to the artistic culture as a whole. Between 1400 and 1700, we see the emergence of new formats, new genres, new subjects, and new techniques, as well as new venues for the display of art. It is an implicit thesis of this book that the systemic shifts occurring in the early modern period made the emergence of aporetic works of art, and of aporia as a problem for art, a structural inevitability.
Derrida's new book bears a special significance because it focuses on an issue that has informed the whole of his work up to the present. One of the aporetic experiences touched upon is that "my death" can never be subject to an experience that would be properly mine, that I can have and account for, yet that there is, at the same time, nothing closer to me and more properly mine than "my death."
This book proposes a new way for scholars in, for example, Education, Literary Studies, and Philosophy to approach texts and other phenomena through the concept and practice of translation. Its interdisciplinary perspective makes the book of value for graduate students and scholars in the Humanities and Social Sciences. The unique take on translation as related to the notion of aporia is applied to a number of seminal and classical texts within literature, poetry, and philosophy, which gives the reader new understandings of the workings of language and what happens within and between languages, as well as within and between disciplines, when some form of interpretation or analysis is at work. Importantly, the book develops the notion of aporias of translation as a way to learn and develop our understanding of texts and phenomena, and thus functions as a pedagogical process, which helps us come to terms with the boundaries of language and academic disciplines.
The first comprehensive study of the function and value of aporia, or puzzlement, as a key tool in ancient philosophical enquiry.
Mystics presents a collection of previously unpublished essays by prominent scholars that consider both the idea of mystics and mysticism. The contributors offer detailed discussions of a variety of mystics from history, and on mysticism in the twenty-first century.
This latest BACAP Proceedings covers three key areas in ancient philosophy, ethics, method and physics. Under ethics, there are three papers on Socratic piety, Aristotelian friendship, and Augustinian-Platonic virtue. Under method, Socratic elenchos, Socratic maieutic, and Aristotelian aporematic inquiry. Under physics, life in Plato and Proclus's reconsideration of Aristotelian motion.
“Desjardins’ conclusion, that the Theaetetus really does point to a particular theory of knowledge, certainly will be controversial, since for many people the idea that the Theaetetus fails to define knowledge is the cornerstone of their interpretation of Plato’s later philosophical thought. But whatever one thinks about the conclusion, it must be agreed that the manner in which it is defended is intrinsically important. Desjardins starts from the unassailable premise that the dialogues are internally unified, and that everything in the dialogues is there for a reason. Her method, then, is to show how some of the features of the dialogue that are usually not taken very seriously actually are very important. Of course, she is not the only scholar taking this sort of tack, but what she makes of the various elements of the Theaetetus is a most impressive construction.
This study argues that the expression of voicelessness in Beckett is not silence. Rather, the negativity and negation so evident in his work are not simply affirmed, but the emptiness can all too easily itself become an affirmation of power.