The purpose of this paper is to examine the central role of praxis in Arendt’s conception of the human world and the structure of political life as a site of subjective interaction and narrative discourse. First, Arendt’s use of Aristotle will be presented in terms of the meaning of action as a unique philosophical category. Second, Arendt’s encounter with the work of Martin Heidegger will be shown to involve a critical response to his reading of Aristotle. Finally, the revised conception (...) of praxis that derives from her philosophical reflections will be related to the experience of narrative as a necessary complement to human plurality. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

As presented in the early work, 'Revolution in Poetic Language,' Julia Kristeva’s 'subject-in-process' can be interpreted as a semiotic alternative to older conceptions of the philosophical subject.This discussion of Kristeva’s early work will attempt to demonstrate that new interpretations of Fregean logic and Freudian psychoanalysis radically displace the traditional subject. This act of displacement allows Kristeva to employ Hegelian dialectics to introduce a “textual” conception of meaning of experience. As a consequence, the Kristevan semiotexte offers a basis for both understanding (...) and misunderstanding in which language mediates between semiotic meaning and cultural practices. The conclusion of the paper maintains that Kristeva's unique formulation of the semiotexte re-defines human subjectivity in relation to the existing world. (shrink)

The present paper defends the thesis that Spenser's recovery of place, as enacted in 'The Faerie Queene,' Book VI, can be linked in a direct way to his use of a poetic phenomenology which informs and clarifies his work as an epic writer. Spenser's "Book of Courtesy" enacts a Neo-Platonic movement from the lower levels of temporal existence to an exalted vision of spiritual perfection. The paper explores this movement along phenomenological lines as a mysterious adventure that embraces self and (...) other, personality and community, aesthetics and ethics, in a sequence of images that opens up a new interpretation of imaginative fulfillment. (shrink)

This paper argues that Paul Ricoeur’s hermeneutical philosophy attempts to reopen the question of human transcendence in contemporary terms. While his conception of language as self-transcending is deeply Husserlian, Ricoeur also responds to the analytical challenge when he deploys a basic distinction in Fregean logic in order to clarify Heidegger’s phenomenology of world. Ricoeur’s commitment to a transcendental view is evident in his conception of narrative, which enables him to emphasize the role of the performative in literary reading. The meaning (...) of the self in time provides Ricoeur with a discursive basis for distinguishing his own position from that of Kant and other philosophers in the transcendental tradition. (shrink)

This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...) also suggests how communities can reconstitute themselves on the horizon of aesthetic dissolution; so that, finally, (iv) art can be reconceived as a emancipatory adventure that redefines metaphysics through its historical unfolding as an unending series of semiotic transformations. (shrink)

The paper argues that Sartre’s work as both a literary critic and social philosopher is deeply indebted to his early commitment to phenomenology. The first part of the paper examines the nature of reading and writing in the account of literary meaning that is presented in the transitional text, 'Qu’est-ce que la littérature?' While acknowledging the political turn that occurs in Sartre’s work, we then discuss how the theme of history emerges in the later essay, 'Questions de méthode,' as one (...) that opens up a “double reading” of human motivation. Our conclusion maintains that the Marxist phase of Sartre’s work is based on the hermeneutical notion of comprehension, which provides an anthropological grounding for his existential philosophy. (shrink)

Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' of (...) Platonism; and (iii) Heidegger's contribution to a hermeneutical reappraisal of Nietzsche's thought. (shrink)

This paper is concerned with Maurice Merleau-Ponty’s contribution to the hermeneutical theory of expressive meaning that has been developed on the basis of an ongoing dialogue with traditional phenomenology. The early portion of the paper examines the unstable boundaries between expression and indication as a key to a new approach to expressive meaning. The paper then takes up Merleau-Ponty’s understanding of expressive life as it emerges in ‘Phenomenology of Perception,’ his first attempt to discuss perception, aesthetics, and temporality in comprehensive (...) terms. The third part of the paper examines Merleau-Ponty’s return to the paintings of Paul Cezanne, which not only clarifies his earlier position but also deepens the philosophical meaning of his reflections on language. My final comments are concerned with how phenomenology can be broadened in a way that can become responsive to the hermeneutical theory of expressive meaning. (shrink)

The main purpose of this paper is to demonstrate how Gianni Vattimo offers a new interpretation of history that challenges standard accounts of the modern period and promotes a new approach to literature. The paper begins with a discussion of how the Cartesian cogito provides an inadequate basis for historical research, and then proposes that modern history can be 'read' when it is reassessed through recent hermeneutics. In 'The End of Modernity' (1985), Vattimo indicates that Heidegger's understanding of the "overcoming (...) of metaphysics" shifted in time, thus suggesting new insights into modernity. The conclusion to the paper applies these insights to show how the notion of a unified literary period is difficult to sustain in a postmodern framework. -/- . (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s Duino Elegies suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...) emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

This paper examines how semiotics, in conjunction with hermeneutics, can illuminate the structure of James Joyce's 'Ulysses' as a literary text. The paper begins with an account of two poet-critics who examined Joyce's novel in terms of classical myths and literary precedents. A crucial turning-point in the essay occurs when Jean Michel Rabate's Lacanian reading of the novel is introduced to clarify Joyce's use of the "signifier of absence" to clarify the meaning of paternity in the novel. The function of (...) the intertext is then examined, particularly in view of the relationship between Stephen Dedalus and Leopold Bloom. The conclusion of the paper shows how a dialogical reading supports the belief in a 'hermeneutical self' as part of the text's underlying meaning. (shrink)

The purpose of this paper is to demonstrate that the novels of Jean Rhys embody a significant use of myths, which can be interpreted in terms of the postcolonial as a historical category. The paper does not argue that Rhys was invariably a postcolonial writer but that the postcolonial as a category casts light on her work as a novelist. In addition to employing semiotics and postcolonial theory, this paper also enlists Homi Bhabha's appropriation of Lacan as a tool in (...) reading. The postcolonial text that gradually emerges in Rhys's novels is shown to inform the various "semiotic mythologies" that dominate her work as a whole. (shrink)

This book identifies the uniquely postmodern elements in hermeneutics and deconstruction in order to reread many of the central texts in modernist literature. It is a comparative study that illuminates points of contact between the philosophical positions of Gadamer and Derrida, discussing Heidegger's influence on both Gadamer's ontological approaches to the work of art and Derrida's transformation approach to literary and philosophical texts. The poetry of Eliot, Pound and Yeats is examined within this framework, while the crucial example of Joyce (...) is taken up in terms of the production and reception of 'Ulysses' as a seminal influence. The study concludes by suggesting that Derrida provides an ethical version of hermeneutics that departs from Gadamerian models but can be reconciled with both postmodern insights and historical research. (shrink)

This book is concerned with the continuing viability of both Freud and Hegel to the reading of modern literature. The book begins with Julia Kristeva’s attempts to relate Hegelian thought to a psychoanalytically informed conception of semiotics that was first explored in her influential study, The Revolution of Poetic Language, and then modified in later books that develop semiotics in new directions. Kristeva’s agreements and disagreement with Hegel are important to the book’s argument, which ultimately defends Hegel against familiar, poststructuralist (...) detractions. However, the book’s conceptual argument requires a historical exposition, with chapters devoted to literary figures ranging from Spenser to Ishiguro. One of the purposes of the book is to demonstrate that Hegel’s contribution to modern thought is at least partially exhibited in the history of literature, which also corroborates some of the deeper insights of psychoanalysis. (shrink)

David Hume’s ‘History of England’ is an ambitious work that helps demonstrate how the modern historian can interpret the crucial events that define human communities as continuous in time. This paper is directly concerned with the significance of Hume's historical method, his view of human agency and the role of the English Constitution in appraising the meaning of secularity in his historical work. The more fundamental purpose of the paper will be to show that the study of history was not (...) incidental to his task as a philosopher but, on the contrary, relates to his deeper view of how we experience the world in terms of fundamental categories of time and meaning. (shrink)

This collection of essays is concerned with Paul de Man's work as a literary theorist, particularly his later, linguistically-informed contribution to the reading and interpretation of literature. The essays in this collection argue that de Man's legacy is complex and multidimensional. Paul de Man's work in "deconstructive" literary criticism is examined in some detail with regard to its continuing pertinence to recent developments in literary study. This collection argues persuasively that de Man's work continues to be important to the so-called (...) "afterlife" of theory. (shrink)

Material Difference: Modernism and the Allegories of Discourse argues that deconstruction can be employed in conjunction with the historically-oriented approach to cultural experience that is favored by Critical Theory. The two discourses that inform this comparative study situate Modernism between evolving traditions that begin with Hegel and Nietzsche, leading on to Adorno's commitment to philosophical aesthetics and Derrida's concern for writing (écriture). Interrelated discussions of eight major authors, working in four different languages, are presented to show how allegorical Modernism foreshadows (...) the possibility of cultural history. Joyce, Kafka, Malraux, Rilke, and Stevens are among the authors discussed in this book. The notion of material difference allows literature to be redefined in semiotic terms and demonstrates how the allegorical imagination mediates between art and time. (shrink)

This collection of essays links Paul de Man's late work as a literary theorist and critic to the development of the 'new materialism' as it first emerged in the late eighties and early nineties, especially in the field of literary theory. The notion of materialism that is explored in these essays is non-classical and non-foundational, which means that it stems from a special approach to language rather than to the viewer's relationship to the object-world. The contributions to this volume come (...) from different individuals, working in different fields, who derive insight from de Man's criticism, which was strongly influenced by Jacques Derrida's deconstruction. This collection is especially interesting in its treatment of Paul de Man 's late work as an inconclusive attempt to approach the question of ideology in a fresh manner. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s 'Duino Elegies' suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...) emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

The present paper defends the thesis that Spenser's recovery of place, as enacted in 'The Faerie Queene,' Book VI, can be linked in a direct way to his use of a poetic phenomenology which informs and clarifies his work as an epic writer. Spenser's "Book of Courtesy" enacts a Neo-Platonic movement from the lower levels of temporal existence to an exalted vision of spiritual perfection. The paper explores this movement along phenomenological lines as a mysterious adventure that embraces self and (...) other, personality and community, aesthetics and ethics, in a sequence of images that opens up a new interpretation of imaginative fulfillment. -/- . (shrink)