The start of the teaching year in Oz is just around the corner, and I’m excited to be teaching on phenomenology and existentialism. It’s a 2nd year class, so really just introducing this period and style of philosophy, themes, methods, and authors. Still, a chance to look at some great work. Interesting too to think… Continue reading Existentialism & Phenomenology course
Continuing my summary of Derrida’s 1964-5 seminars on Sein und Zeit. Derrida keeps up a continuous narrative of where he is up to in his narrative. Pedagogically, it’s very useful – he recalls what they discussed the previous time (usually a fortnight before), and he repeats in concise fashion the conclusions that were reached. It doesn’t… Continue reading Not historicism: Derrida’s Heidegger Course, s.2
The inquiry into “the question of being” as a guiding thread is distinguished from understanding it as a) Hegelian “refutation” as ontological development in history, and b) any “ontology”, because it is not a matter of seeing the truth of an historical being but of showing why all efforts at ontology essentially miss clarifying the… Continue reading Derrida’s Heidegger Course, 1964-5, seminar 1
Peter, on putting Derrida on trial (again). “Of Grammatology is not about how language, as one commentary on Of Grammatology puts it [I can’t find the book to cite it at the moment], shapes the world, but rather that the world is, as Jean-Luc Nancy puts it, nothing other than the passage of sense, an… Continue reading Things and signs
What does it mean to “express” yourself? What is, and what is not, an expression? Is expression wholly novel, or does it depend on the past in some way? Is it more subjective than objective? Am ‘I’ the ultimate source of expression, or does it come from somewhere or something else?
Painting and language provide two modes of a living historicity, which lead us to understanding the interweaving of all experience. What is distinct in them as modes? What finally justifies their comparison and ultimate unity? How are the historical bands specific to each kind of expression? What differentiates painting as visible and speech as audible… Continue reading Two historicities: Painting & Speech
Let’s learn, then, near those poets who have been adorned with the title genius. It is they who will betray to us the secret of that imposing word. The secret of genius is that of universal teaching: learning, repeating, imitating, translating, taking apart, putting back together. Ranciere, The Ignorant Schoolmaster, p.68. Which is to say, genius amounts… Continue reading The secret of genius