This paper resumes my discussion with Charles Scott concerning the concept of nature. The discussion stems from Scott’s book The Lives of Things, and this paper is prompted by a short text (appended to this paper) in which Scott elaborates and clarifies certain significant points. The focus of the discussion is on the double sense of nature, that the word can designate, at once, both natural things in their singular happening and the eidetic double, the essence, of such things. The (...) key issue is the way in which the second, eidetic sense folds back over the first, singular sense so as to conceal it. (shrink)
By referring to the present environmental “crisis,” this essay presents the turn to elemental nature as a task that thinking must undertake. What this turn involves is clarified by means of a series of distinctions between things and natural elements.
What is art really about? What is its true sense? For John Sallis, we cannot gain a genuine understanding of art by merely translating its effects into conceptual language. Rather, works of art must be approached in a way that does justice to their sensuous and enigmatic character—that illuminates their capacity to present truth without pretending to dispel the real mystery at art’s core. Transfigurements develops a framework for thinking about art through innovative readings of some of the most important (...) philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in these texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare’s comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations of classic works from both fields, Sallis puts forth a compelling new elaboration of the philosophy of art. (shrink)
Where does philosophy begin, and where does it end? For John Sallis, philosophy’s many starting points all lead back to Plato’s cave, a reminder that no matter how rigorous our thought, we can never quite escape to pure understanding. We remain always on the verge, at the limits of philosophy—but the verge, Sallis argues, is where the most decisive philosophical thinking takes place. The Verge of Philosophy is in one sense a memorial for Sallis’s longtime friend and interlocutor Jacques Derrida. (...) The centerpiece of the book is an extended examination of three sites in Derrida’s thought: his interpretation of Heidegger regarding the privileging of the question, Derrida’s account of the Platonic figure of the good, and his interpretation of Plato’s discourse on the crucial concept of the chora , the originating space of the universe. Sallis’s explorations are given added weight—even poignancy—by his discussion of his many public and private philosophical conversations with Derrida over the decades of their friendship. The Verge of Philosophy thus simultaneously serves to mourn and remember a friend and to push forward the deeply searching discussions that lie at the very heart of that friendship. Rounded out with examinations of the myth of Orpheus and the parameters of a politics of music, Heidegger’s interpretation of Plato, and the question of a new beginning for philosophy, The Verge of Philosophy is a wholly original work by a master thinker and will be essential to all those who treasure philosophical inquiry. (shrink)
O presente artigo trata da questão da tradução, discutindo, em autores como Hegel, Nietzsche, Heidegger e Gadamer, a possibilidade e o sentido da tradução. PALAVRAS-CHAVE – Tradução. Hegel. Nietzsche. Heidegger. Gadamer. ABSTRACT This paper focuses the question of translation, by discussing the possibility and the sense of translation in Hegel, Nietzsche, Heidegger e Gadamer. KEY WORDS – Translation. Hegel. Nietzsche. Heidegger. Gadamer.
Interpretive horizons -- The transcendental dialectic -- The gathering of reason in the paralogisms -- The gathering of reason in the antinomies -- The gathering of reason in the ideal -- Reason, imagination, madness -- Metaphysical security and the play of imagination.
Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."--Richard Schacht, Times Literary Supplement.
This volume represents the first sustained effort to relate Derrida's work to the Western philosophical tradition from Plato to Heidegger. Bringing together twelve essays by twelve leading Derridean philosophers and an important paper by Derrida previously unpublished in English, the collection retrieves the significance of deconstruction for philosophy.
I would like to celebrate this beautiful setting, which has been set into the work of one of England's foremost painters, set beautifully, I would want to say. I would like in deed to celebrate it by setting what I shall say within the orbit of a word used by Plato to refer to the beautiful, one to which Heidegger has paid special attention, the word τò εxφαvεστατov, in German, das Hervorscheinendste, in English, the most radiant, that which most shines (...) forth.1 I would like also to offer most sincere thanks to David Krell for arranging this colloquium in this lovely setting; also for many other things, not the least being the phrase that I have borrowed from him and used as the first of the two titles for this lecture, a debt on which I have now, however inadequately, to try to make good. (shrink)