Unsurprisingly, the recent manifesto, “Theses on theory and history” has received some grumpy responses. Some ask for “evidence” of the analysis, others say “we’ve already done this” (but then concede several points); some honest answers have at least admitted that they don’t quite understand the stakes, or the kind of critical history that is being… Continue reading A place for theory in history
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
I’ve written a couple of posts a while back about this course. Now I’m returning to it in working on a couple of papers. Among other things I’m writing a review of the book, and I want the review to be genuinely helpful in research. To that end, I’ve compiled a little substantive table of… Continue reading Derrida’s 64-5 Heidegger Course outline
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
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