Architectural Philosophy is the first book to outline a philosophical account of architecture and to establish the singularity of architectural practice and ...

SummaryThe essay exposes, recognizes the astonishing originality, and showcases the shortcomings of Christoph Türcke’s Philosophy of Dreams, which offers a theory of the origin of religion inspired by both psychoanalysis and critical theory. Among the objections raised are the speculative nature of the enterprise, which is not sufficiently based on empirical data, the lack of knowledge concerning the transition from apes to humans, the impossibility for hallucinations to be the basic doxastic act, the exaggerated focus on dread, which is (...) only one form of the numinous experience, and on the repetition compulsion, which could hardly prove as creative as the author assumes particularly concerning the origin of sacrifice, and the confusion of genesis and validity. (shrink)

For more than forty years Jacques Derrida has attempted to unsettle and disturb the presumptions underlying many of our most fundamental philosophical, political, and ethical conventions. In The Philosophy of Derrida, Mark Dooley examines Derrida's large body of work to provide an overview of his core philosophical ideas and a balanced appraisal of their lasting impact. One of the author's primary aims is to make accessible Derrida's writings by discussing them in a vernacular that renders them less opaque and (...) nebulous. Derrida's unusual writing style, which mixes literary and philosophical vocabularies, is shown to have hindered their interpretation and translation. Dooley situates Derrida squarely in the tradition of historicist, hermeneutic and linguistic thought, and Derrida's objectives and those of "deconstruction" are rendered considerably more convincing. While Derrida's works are ostensibly diverse, Dooley reveals an underlying cohesion to his writings. From his early work on Husserl, Hegel and de Saussure, to his most recent writings on justice, hospitality and cosmopolitanism, Derrida is shown to have been grappling with the vexed question of national, cultural and personal identity and asking to what extent the notion of a "pure" identity has any real efficacy. Viewed from this perspective Derrida appears less as a wanton iconoclast, for whom deconstruction equals destruction, but as a sincere and sensitive writer who encourages us to shed light on out historical constructions so as to reveal that there is much about ourselves that we do not know. (shrink)

What we mean to do in this Symposium is to think about education by means of the concept of ‘potentiality’ in contrast to the logic of ‘actualisation’ which is prevailing in education today. In this paper, I try to think out loud through a particular way of teaching philosophy that may fit in with a ‘potentialism’ based approach, as we have tentatively called it. In Spain, philosophy is part of the secondary education curriculum. At first glance, it might (...) seem a blessing to live in a country that deems that philosophy should have an important role in a young person’s education nevertheless, the students are usually quite lost. Students receive philosophy as a collection of lofty discourses, therefore philosophy is reduced to ‘Nietzsche said …’, ‘Aristotle said …’, thereby deactivating the potentiality of their ideas. In the following, I will argue how I believe we can reactivate the potentiality of philosophy, and how we can transpose this gesture to the teaching of philosophy at the secondary education level. (shrink)

For more than forty years Jacques Derrida unsettled and challenged the presumptions underlying our most fundamental philosophical, political, and ethical conventions. In The Philosophy of Derrida, Mark Dooley and Liam Kavanagh provide a succinct overview of his core philosophical ideas and a balanced appraisal of their lasting impact. The authors' analysis of Derrida's writings, especially the objectives of deconstruction, make his work clearly accessible. Dooley and Kavanagh also situate Derrida within historicist, hermeneutic, and linguistic thought. From his early work (...) on Husserl, Hegel, and de Saussure to his final writings on justice, hospitality, and cosmopolitanism, Derrida is shown to have been grappling with the question of national, cultural, and personal identity and the notion of whether a "pure" identity has any real efficacy. Rather than an iconoclast for whom deconstruction equalled destruction, the Derrida that emerges in this study sheds light on our historical constructions to reveal that there is much about ourselves that we do not know. (shrink)

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

This book explores repetition in contemporary performance and spectatorship. It offers an impassioned account of the ways in which speech, movement and structures repeat in performances by Pina Bausch, Anne Teresa De Keersmaeker, Lone Twin Theatre, Haranczak/Navarre and Marco Berrettini. It addresses repetition in relation to processes of desire and draws attention to the forces that repetition captures and makes visible. What is it in performances of repetition that persuades us to return to them again and (...) again? How might we unpack their complexities and come to terms with their demands upon us? While considering repetition in relation to the difficult pleasures we derive from the theatre, this book explores ways of accounting for such experience of theatre in memory and writing--back cover. (shrink)

Dynamic Repetition proposes a new understanding of modern Jewish theories of messianism across the disciplines of history, theology, and philosophy. This book explores how ideals of repetition, return, and the cyclical occasioned a new messianic impulse across an important swath of late nineteenth and early twentieth century German Jewish thought.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy called 'argument by repetition' (ABR). ABR controls the script by repeating the script, and it often distracts audiences in the process. Truthiness is a key to how ABR is a pervasive propaganda technique. ABR takes many forms: jingles for advertising shampoo, phrases politicians use to evoke fear or gain favor, and narratives to malign certain groups of people. Adolf Hitler's Big Lie technique in Mein Kampf extols (...) the usefulness of this technique in swaying masses of people. Hitler and his Propaganda Minister, Joseph Goebbels, utilized this Big Lie technique to repeat the narrative of an “International Jewry”, which launched World War I to kill all Germans; this repeated lie helped turn cultural anti‐ Semitism into the Holocaust, as many would argue. ABR seeks to convince an audience not by facts or logic but by the psychological and emotional power of repetition. (shrink)

This brilliant exposition of the critique of identity is a classic in contemporary philosophy and one of Deleuze's most important works. Of fundamental importance to literary critics and philosophers,Difference and Repetition develops two central concepts—pure difference and complex repetition&mdasha;and shows how the two concepts are related. While difference implies divergence and decentering, repetition is associated with displacement and disguising. Central in initiating the shift in French thought away from Hegel and Marx toward Nietzsche and Freud, _Difference (...) and Repetition_ moves deftly to establish a fundamental critique of Western metaphysics. (shrink)

These two complementary works give the reader a unique insight into the breadth and substance of Kierkegaard's thought. One reads like a novel and the other a Platonic dialogue but both concern the nature of love, faith, and happiness. These are the first translations to convey the literary quality and philosophical precision of the originals.

A fresh and unusual perspective on the literary, Catherine Pickstock argues that the mystery of things can only be unravelled through the repetitions of fiction, history, inhabited subjectivity, and revealed event.

The study of traumatic experiences led Freud to investigate what he termed a compulsion to repeat. The present paper takes up the idea of a tendency to repeat something that reinforces psychic pain and asks which kind of agency is possible in the light of traumatic repetitions. First, the experiential roots of repetitive doings induced by trauma are investigated. Might a compulsion to repeat belong to the sphere of the kind of tendencies which Husserl terms “generally unconscious”? And if so, (...) does this sphere bring us to the limit of phenomenology where we might need to cooperate with psychoanalysis to make sense of the manifestations of such an unconscious sphere? This is proposed in section two. In section three, Freud’s notion of the compulsion to repeat is discussed. At this point, the repetitive activity of the mind is investigated as the traumatized person’s ongoing struggle to survive with the trauma and as a struggle to understand what survival in this case even means. In section four, an attempt is made to describe the kind of agency involved in the repetitive activity of the mind. The paper concludes that weak agency is possible in traumatic repetition when understood as the person’s ongoing attempt to compose a future for what has been lost. (shrink)

These two complementary works give the reader a unique insight into the breadth and substance of Kierkegaard's thought. One reads like a novel and the other a Platonic dialogue but both concern the nature of love, faith, and happiness. These are the first translations to convey the literary quality and philosophical precision of the originals.

From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited (...) volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times. (shrink)

In an effort to bring this other, neglected half of Kierkegaard's authorship into focus, this volume of the Yearbook is dedicated specifically to the edifying ...

This paper offers a reading of Guttierez Alea's film Memories of Underdevelopment ( Memorias del Subdesarrollos , 1968) using Jameson's notion of the 'homeopathic neutralization' of repetition through its very usage in the modernist work of art to assuage the alienation of industrial society. Before the reading of the film begins, however, I explore the motif of repetition in the work of a handful of the most important thinkers of the newly industrial society. I mobilize their insights on (...) different levels of being: sociological, biological, psychological, and aesthetic, in order to understand how Alea uses repetition of form and content to construct the film's protagonist as a metaphor for the counter-revolution. I conclude with thoughts about the heterogeneity of communist states, and the dialectical relationship between high culture and popular culture. I propose that this relationship is better seen as a continuum with two extreme poles, rather than as a binary switch. (shrink)

In capitalism human beings act as if they are mere animals. So we hear repeatedly in the history of modern philosophy. Indifference and Repetition examines how modern philosophy, largely coextensive with a particular boost in capitalism’s development, registers the reductive and regressive tendencies produced by capitalism’s effect on individuals and society. Ruda examines a problem that has invisibly been shaping the history of modern, especially rationalist philosophical thought, a problem of misunderstanding freedom. Thinkers like Descartes, Kant, Hegel, (...) and Marx claim that there are conceptions and interpretations of freedom that lead the subjects of these interpretations to no longer act and think freely. They are often unwillingly led into unfreedom. It is thus possible that even “freedom” enslaves. Modern philosophical rationalism, whose conceptual genealogy the books traces and unfolds, assigns a name to this peculiar form of domination by means of freedom: indifference. Indifference is a name for the assumption that freedom is something that human beings have: a given, a natural possession. When we think freedom is natural or a possession we lose freedom. Modern philosophy, Ruda shows, takes its shape through repeated attacks on freedom as indifference; it is the owl that begins its flight, so that the days of unfreedom will turn to dusk. (shrink)

Repetition dynamically shaped important modes of thought and action in early modern British and European cultures. The centrality and often problematic ambiguity of repetition as they converge in ritual, routine, and regime, however, are rarely assessed accurately because repetition is often dismissed as quaintly primitive or embarrassingly visceral. Ritual, Routine, and Regime is a collection of essays that reveals varied meanings given to and created by repetition from a range of disciplinary perspectives. The contributors reveal (...) class='Hi'>repetition at work in evolving definitions of the self and of the emotions, in political rhetoric used to assert a nation's history, in values ascribed to musical styles, in religious verse grounded in practices of prayer, in the aesthetics created by the poetry of work and by rhyme in general, in the recreation of British classics through French translations, and in the repeated but significantly varied sculpture of the portrait bust. Edited by Lorna Clymer, Ritual, Routine, and Regime juxtaposes early modern practices with twentieth- and twenty-first century theoretical accounts of the institutions of repetition. Providing a stimulating, new perspective on early modern culture, the collection describes repetition's often peculiar demands, its surprising gratifications, and its contested interpretations. (shrink)

Où commence la philosophie? Il s’agit là d’un problème que nous rencontrons au début de plusieurs grandes oeuvres philosophiques. Gilles Deleuze avance une solution dans le troisième chapitre de Différence et Répétition. Or si l’aspect formel de cette solution apparaît clairement, ce n’est pas tellement le cas de l’aspect matériel. Nous nous proposons d’éclaircir cette solution non seulement pour présenter de façon concrète la conception deleuzienne du commencement en philosophie mais surtout pour montrer comment cette conception renferme la clé pour (...) déterminer la façon dont commence la philosophie deleuzienne elle-même. (shrink)

The ontologies of Slavoj Žižek and Gilles Deleuze are incommensurable. Rather than appropriate one at the expense of the other, this essay uses Žižek’s notion of parallax to think the two philosophers together, without mediation. Both Deleuze and Žižek provide mirrored philosophical images, with the point of divergence being absolute lack. Deleuze argues that lack, or the being of negation, is an error of representational understanding, while Žižek conceives his philosophy as being driven by absolute lack. A stark opponent (...) of Žižek’s precursor, Hegel, Deleuze rejects opposition as a constitutive feature of reality. However, Žižek mirrors Deleuze’s very concepts in his Lacanian reading of Hegel, while said concepts retain identical terms. For instance, Žižek calls l’objet petit a “difference,” while his term for absolute negation is “repetition,” and finally, he refers to his philosophical system as the “non-All”. These singular concepts in Žižek’s thought share an identical language with that of Deleuze. Deleuze’s philosophy is one of “difference,” while its mode of proliferation is “repetition,” and finally, he often refers to his philosophy as the “One-All”. Mapping these common terms that do not denote a common language, but incommensurable, inverse logics, it becomes evident that Deleuze and Žižek are mirror images of one another, infinitely fragmenting across the expanse of their respective positions. Thus, by triangulating ontology from their unique perspectives, a new ontological shift emerges—one that resists mediation and admixture. (shrink)

The article focuses on the use of repetition in the work of Mikhail Yu. Lermontov. Lermontov utilizes repetition to create a multiplicity of meanings, to redraw plotlines, and to depict the life of things and characters in a state of freedom. An analysis of three Lermontov poems, The Confession, Boyarin Orsha, and Mtsyri shows that they constitute a single train of thought, which cannot be broken without violating Lermontov's attempt to show the limits of not only the human (...) soul, but also the power of judgment, a central idea of European philosophy at the time. Confession and judgment are the central themes of the three poems. (shrink)

Phenomenology aims at analyzing the constitutive moments of the different experiences by doing justice to their specific ways of appearing. By doing so, it can make visible (and therefore correct) the problematic assumptions taken as valid from the outset. These assumptions coherently distort and manipulate the phenomena in such a way that the phenomena are transformed into something radically different. The phenomenon of déjà vu is very interesting in this regard for two different reasons. Déjà vu is transformed into a (...) different phenomenon in the field of cognitive sciences: déjà-vu is commonly understood as a simple memory error. Secondly, déjà vu implies a repetition of a unique, contingent experience. This logic of repetition is not easily compatible with the logos of empirical sciences that focus on the identification of invariant relations between general terms through experimental research and therefore requires a different approach. (shrink)

The classical rule of Repetition says that if you take any sentence as a premise, and repeat it as a conclusion, you have a valid argument. It's a very basic rule of logic, and many other rules depend on the guarantee that repeating a sentence, or really, any expression, guarantees sameness of referent, or semantic value. However, Repetition fails for token-reflexive expressions. In this paper, I offer three ways that one might replace Repetition, and still keep an (...) interesting notion of validity. Each is a fine way to go for certain purposes, but I argue that one in particular is to be preferred by the semanticist who thinks that there are token-reflexive expressions in natural languages. (shrink)

Based on the examination of 49 Chinese criminal trials transcribed from the audio-visual recordings on the ‘China Court Trial Online’ website ( https://tingshen.court.gov.cn/ ), the institutional participants–prosecutors, defence lawyers, and judges–are found to frequently repeat defendants’ responses (‘other-repetition’), after a question–answer adjacency pair. Other-repetition has been described as a resource for showing participation and familiarity (Tannen 2007), initiating repair and registering receipt (Schegloff 1997), and displaying understanding and emotional stance (Svennevig 2004). However, other-repetition in trial discourse has (...) not been thoroughly researched. Therefore, this article aims to further examine this salient institutional linguistic feature in order to explore stance construction as a third turn. It is common to associate certain prosodic features of a repetition with the stance of the speaker. However, prosody may not be a reliable cue for stance interpretation in Chinese courtrooms, as institutional participants might conceal their stance during a repetition. Though they are more explicit in displaying their stance with turn-initial repeats, the distinction between the prosody of repeats for different functions is not categorical. It is found that defendants are sensitive to the lexicogrammar and multimodal cues for stance interpretation. (shrink)

ABSTRACT In order to explore the possibilities of affirmative ethics and algorithmic judgment, this article puts machinic rhetoric in conversation with classical imitation pedagogy. Taking a machine-learning chatbot as my example, I examine how imitation and repetition in a restrictive economy of rhetorical models produces a limited affirmative ethics through dialectical relations. Drawing on Hannah Arendt's concept of representative thinking to theorize a procedure for algorithmic judgment, I argue that rhetorical training requires the affirmation of a plurality of models (...) if it is to generate not only versatility but also ethical repetitions. (shrink)

When students read Difference and Repetition for the first time, they face two main hurdles: the wide range of sources that Deleuze draws upon and his dense writing style. This Edinburgh Philosophical Guide helps students to negotiate these hurdles, taking them through the text step by step. It situates Deleuze within Continental philosophy more broadly and explains why he develops his philosophy in his unique way. Seasoned Deleuzians will also be interested in Somers-Hall's novel interpretation of Difference (...) and Repetition. (shrink)

"This is a remarkable book: wide-ranging, resonant, and well-written; it is also reflective and personable, warm and engaging." —Philosophy and Literature "With this book Caputo takes his place firmly as the foremost American, continental post-modernist... " —International Philosophical Quarterly "One cannot but be impressed by the scope of Radical Hermeneutics." —Man and World "Caputo’s study is stunning in its scope and scholarship." —Robert E. Lauder, St. John’s University, The Thomist For John D. Caputo, hermeneutics means radical thinking without transcendental (...) justification: attending to the ruptures and irregularities in existence before the metaphysics of presence has a chance to smooth them over. Radical Hermeneutics forges a closer collaboration between hermeneutics and deconstruction than has previously been attempted. (shrink)

This essay argues for a formative, and not simply abstract, aspect to the philosophy of religion by attending to the practices of writing employed in Søren Kierkegaard’s pseudonymous work Repetition . By locating this text within an ethical tradition that focuses upon the practices that form subjects, rather than simply the formulation of a theory, its seemingly literary performances can be viewed as exercises. In particular, this text deploys and transforms the Stoic practices of self writing, in the (...) form of keeping notebooks and letter writing, so as to cultivate capabilities. This indirect ethical instruction does not, however, lead to the formation of autonomous ethical subjects, but to the cultivation of capabilities that are only possible in the relational space of vulnerability, service and dependence. (shrink)

Despite the problematic political positions he adopted during his life span, the work of Carl Schmitt contains a fascinating argument in favour of `the political', which is understood as a plural symbolic space composed of friends and enemies who reciprocally recognise each other. Schmitt's struggle for the political is a struggle for a public spirit which accounts for this plurality. One of the terrains on which Schmitt wages this struggle is that of historical meaning. The image of history is crucial (...) for the political, as it is one level on which the relation between enemies is symbolised. In this paper, Schmitt's polemic for a political conception of history, which gives the enemy and the defeated their due place as political subjects, will be reconstructed. Central to Schmitt's endeavour is the attempt to think historical singularity, against the notion of repetition in history, against the understanding of history as a reservoir of `lessons' and against ideologies of progress. Through his polemic, a profane and sober image of history appears which stresses singularity, relative contingency and openness, and the pluralisation of social temporalities. The enigmatic notion of the katechon will play a crucial role in providing a very minimal but crucial form of historical meaning for such a political conception of history. (shrink)

F.W.J. von Schelling’s positive philosophy of mythology and revelation questions how one can move from the natural (the negative or mythology) to freedom (the positive or revelation), i.e. from the natural to the supernatural. The move from nature to freedom surpasses the traditional metaphysics of presence. Being is not simply the presencing of nature but the result of a decisive deed surpassing and supplementing nature. Nature can do nothing other than presence. Freedom, however, could also not be. It could (...) remain in concealment and must not necessarily presence as nature does. The origin is a supplement because an unnecessary excess extraneous to nature. In other words, origins always supplement the natural, i.e. they are supernatural and revelatory. Origins bring something novel, i.e. something original, into being but origins themselves remain in non-being and consequently remain un-revealed. The origin cannot exist, i.e. cannot become present, because it is always qualitatively Past. The origin never was but always already has been . Primal repetition was freedom’s subjection of nature to the Past and a deferral of this deed’s consequences to the indefinite Future. (shrink)

This paper analyzes two different proposals, one by Ellis and Brundrit, based on classical relativistic cosmology, the other by Garriga and Vilenkin, based on the DH interpretation of quantum mechanics, both concluding that, in an infinite universe, planets and beings must be repeated an infinite number of times. We point to possible shortcomings in these arguments. We conclude that the idea of an infinite repetition of histories in space cannot be considered strictly speaking a consequence of current physics and (...) cosmology. Such ideas should be seen rather as examples of «ironic science» in the terminology of John Horgan. (shrink)