Introduction: the figure of this world -- 1. The question of political ontology -- 2. The poetic experience of the world -- 3. The myth of the earth -- 4. The unbearable -- 5. The creature before the law -- 6. The animal for which animality is an issue -- 7. Understanding the happy -- 8. The picture and its captives -- 9. The passing of the figure of this world.

In this article I develop Heidegger's phenomenology of poetry, showing that it may provide grounds for rejecting claims that he lapses into linguistic idealism. Proceeding via an analysis of the three concepts of language operative in the philosopher's work, I demonstrate how poetic language challenges language's designative and world-disclosive functions. The experience with poetic language, which disrupts Dasein's absorption by emerging out of equipmentality in the mode of the broken tool, brings Dasein to wonder at the world's existence in such (...) a way that doubt about its reality cannot enter the picture. (shrink)

There is congruence between Nietzsche’s philosophy of life and the biopolitical philosophy of Giorgio Agamben. For both philosophers the human animal possesses a divided relationship to its being alive. For both philosophers this division is of a political nature, such that membership in political community as we know it is conditional on the human animal’s alienation from its biological being. Both philosophers are also concerned with the possibility of transformation and, because of the connection they establish between politics and animality, (...) link this possibility to a change in the relationship between humans and their being alive. Yet both philosophers end up with an entirely different understanding of the nature of this change, and of its potential scope. This paper is an attempt at clarifying this disagreement between Nietzsche and Agamben, and with using it to come to a better understanding of the latter’s political ontology. It presents a reading of Kafka’s “The Burrow” in an attempt to show how Agamben’s concept of the anthropological machine challenges the Nietzschean program of the affirmation of life as will to power. (shrink)

This article develops a Hegelian account of self-consciousness by grounding it in being animal. It draws on contemporary naturalist and rationalist philosophy to support a transformative picture of the relationship between self-consciousness and animal purposes, setting work by Danielle Macbeth, Terry Pinkard, Michael Thompson, and Matthew Boyle into dialogue with two passages from Hegel’s Aesthetics. Because we are conscious of them as such, the article argues, our ends are never simply given to us and must be determined, which means working (...) them out collectively. But this makes dependency a structural feature of human life, as attaining the right relation to our ends means finding ourselves through the eyes of others instantiating our lifeform. Grounding these Hegelian insights in a naturalistic understanding of organic norms, we see that we should not oppose the self-transparency afforded by rationality to the opacity of animal drives. The article concludes that the mark of rationality is not the capacity to transcend or control animal instinct but that we can be problems to ourselves. Spiritual life is just natural life: natural life finding itself problematic. (shrink)

This book presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostami's films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work. Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, Noël Carroll, Giorgio Agamben and Martin Heidegger, bringing out the thinking at work in Kiarostami's later films: Taste of Cherry, The Wind Will Carry (...) Us, ABC Africa, Ten, Five, Shirin, Certified Copy, and Like Someone in Love"--Back cover. (shrink)

The Wind Will Carry Us (1999) opens with a series of long takes of a car winding steadily down a road in the Iranian countryside. In other words, it opens with a sequence which, to anybody who knows Kiarostami's work, will be immediately recognizable as typical of it: Life and Nothing More (1992) returns repeatedly to such sequences, and ends with one; such sequences turn up in Through the Olive Trees (1994) and Taste of Cherry (1997); the protagonist of Where (...) is the Friend's Home? (1987) is too young to drive, but we see him from a distance meandering in a similar pattern on more than one occasion (and sequences of the same type return in Certified Copy (2010)). As with the other sequences, the opening of The .. (shrink)

This book brings together philosophers, literary theorists, and art historians to argue for the philosophical significance of Michael Fried’s art history and criticism. It demonstrates that Fried’s analyses of absorption and theatricality, and the accounts of modernism he develops from them, can throw new light on problems in aesthetics, and questions of authenticity, scepticism, modernity, and politics. Featuring an essay by Fried and articles from world-leading scholars, this collection contributes to current debates in aesthetics, modernism studies, literary studies, art theory, (...) and both analytic and continental philosophy. (shrink)

In Beyond Moral Judgment, Alice Crary defends a version of moral objectivism which turns on the idea that participation in moral life involves acquired affective proclivities: subjective capacities which nevertheless allow us to be receptive to objective features of the world. In this article, I draw out key aspects and implications of her account with reference to Joshua Oppenheimer's 2014 film The Look of Silence, a companion piece to 2012's The Act of Killing. The film depicts a series of confrontations (...) between optometrist Adi Rukun and warlords and gangsters involved in massacres perpetrated during Indonesia's anti-communist purges. Many of the interviews were carried out under the pretext of conducting eye tests, and the optometric equipment Rukun affixes to the faces of the perpetrators – who often appear quite cavalier about or even proud of their deeds – functions as a stark metaphor for their failures to see the meaning and consequences of their actions. As I work to show, there is something disq... (shrink)

Near the end of W. G. Sebald’s Austerlitz, the book’s eponymous protagonist recalls visiting the zoo of the Jardin des Plantes with his friend Marie.1 The zoo is in bad shape; the pair overhear children questioning their parents: “Mais il est où? Pourquoi il se cache? Pourquoi il ne bouge pas? Est-ce qu’il est mort?” Sebald writes:I recollect that I myself saw a family of fallow deer gathered together by a manger of hay near the perimeter fence of a dusty (...) enclosure where no grass grew, a living picture of mutual trust and harmony which also had about it an air of constant vigilance and alarm. Marie particularly asked me to take a photograph of this beautiful group, and as she did so, said Austerlitz, she said... (shrink)