Abstract:Ian Moore speaks with Peg Birmingham about the intellectual and personal relationship between Martin Heidegger and Hannah Arendt, and more.

Abstract:Cristina Crichton speaks with Ramón Rodríguez about ethics in Heidegger (Studies) and Heidegger's influence on his own work.

Abstract:Jessica Elkayam asks Mariana Ortega about the influence both Latina feminisms and Martin Heidegger have had on the development of Ortega's mestiza theory.

Abstract:Pedro Erber discusses with Naoki Sakai the history of Heidegger's influence on philosophy in Japan.

Abstract:In one of his last interviews before his passing, Jean-Luc Nancy talks about his own engagement with and eventual departure from Heidegger's work.

Abstract:Bruno Bosteels speaks about the influence of Heidegger's thought on his monograph Philosophies of Defeat: The Jargon of Finitude and his work overall.

Abstract:Pedro Erber and Facundo Vega speak with Marcia Sá Cavalcante Schuback about Heidegger's influence on philosophy in Brazil and beyond.

Abstract:Nicolette Bragg asks Grant Farred about the legacy of his text Martin Heidegger Saved My Life and what it means to think.

Abstract:Niki Young speaks with Graham Harman about his Object-Oriented Philosophy in relation to his understanding of Heidegger's tool-analysis, and more.

Abstract:Michael Marder and Giovanbattista Tusa discuss the "today" and "tonight" in Heidegger's thinking and beyond.

Tatjana Noemi Tömmel and Florian Grosser speak with Peter Trawny, the philosopher whose editions and interpretations of Martin Heidegger's work have strongly and lastingly shaped the view of Heidegger's thought.

In lieu of an abstract, here is a brief excerpt of the content:ImagesLee UfanBorn in Haman County, Korea, in 1936, Lee Ufan is a leading practitioner and theorist of the Mono-ha School, which emerged in Japan in the 1960s. With his distinct approach and individualistic artistic expression, he has established a unique style of his own that goes beyond such categorization. In his work, Lee leaves areas unmade and produces yohaku (empty spaces and margins), while cutting personal expression to a (...) minimum. This approach draws out the unique tension and stillness of a particular space, a characteristic of his work. Lee lives and works in Paris and Kamakura, Japan. Among many other places, his work is part of the collections at the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Tate Collection in London, the National Museum of Contemporary Art in Seoul, the National Museum of Modern Art in Tokyo, and Queensland Art Gallery in Brisbane. Click for larger view View full resolutionRELATUM—THE MIRROR ROAD, 2021 / 2022 Stone and stainless steel Stones, height 90 cm (set of 2), stainless steel plate, 2 x 100 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 168] Click for larger view View full resolutionRELATUM—THE INFINITE THREAD, 2022 Stainless steel and string Dimensions variable Installation view: Lee Ufan: Requiem, Alyscamps, Arles, France, October 30, 2021–September 30, 2022 Collection of the artist © Studio Lee Ufan / Photo: Claire Dorn[End Page 11] Click for larger view View full resolutionRELATUM—SHE AND HE, 2005 / 2022 Stone and Steel Stone, height 70 cm; steel plate, 2 x 200 x 170 cm Collection of the artist Photo: Shu Nakagawa[End Page 75] Click for larger view View full resolutionRELATUM—ESCARGOT, 2018 / 2022 Stone and stainless steel Stone, height 50 cm; stainless steel, 200 x 300 x 253 cm Photo: Shu Nakagawa[End Page 97] Click for larger view View full resolutionRELATUM—DISSONANCE, 2004 / 2022 Stone and stainless steel Stones, height 35 and 45 cm (set of 2); stainless steel poles, 350 cm (set of 2) Collection of the artist Photo: Shu Nakagawa[End Page 111] Click for larger view View full resolutionRELATUM—THE ARCH, 2014 / 2022 Stone and stainless steel Stones, height 230 cm (set of 2) (actual size); stainless steel arch, 427 x 500 x 200 cm; stainless steel plate on the ground, 2 x 200 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 135]Copyright © 2023 Cornell University... (shrink)

Abstract:Francesco Vitale discusses with Rodolphe Gasché the history of Heidegger reception in France and Germany, and more.

Abstract:Calvin Warren talks about Heidegger's influence on Afropessimism, and about the philosophical significance of the Harlem Renaissance.

Abstract:Although best known to English-speaking readers as the general editor of the Dictionary of Untranslatables, the work of French philologist and philosopher Barbara Cassin is eclectic, encompassing literary studies, ancient philosophy, rhetoric, translation theory, psychoanalysis, politics, and more. From Presocratic philosophy to more recent reflections on Big Tech and democracy, Cassin's work is rooted in "sophistics," an approach that emphasizes the primacy of language in shaping our interactions with the world. Situating this sophistical approach vis-à-vis classical philology (Bollack) and the (...) philosophical tradition (Heidegger, Derrida), this essay explores the contribution of "sophistical reading" to our understanding of philosophical and literary texts. Showing how Cassin uses rhetorical theory to problematize any simple opposition of the latter, the essay concludes with a critical evaluation of Cassin's reading of Helen, Euripides' most sophistical play. (shrink)

Abstract:This essay traces the ambivalent work of ghurba (estrangement, exile, alienation) across four ethnographic scenes: Orthodox Christian activists in austerity Beirut refuse to abandon the corrupted world; a Syrian Islamic scholar in Jordan insists on the patient work of rehabilitation; Orthodox ascetics in a monastic community outside Tripoli turn to the hidden alienation borne in the world; and a Muslim calligrapher in Canada relinquishes the guarantee of ethical relation. Taken together, these scenes form a tableau of estrangement in the shared (...) vocabulary of Eastern Christianity and Islam. Drawing on Ibn Khaldun's Muqaddimah–in its articulations of soul, community, and world always already shadowed by their undoing–we then situate these four scenes along spatio-temporal axes of destruction and production, city and desert, paradise and hellfire: a purgatorial topology which modulates what Agamben calls the contemporary destruction of experience. (shrink)

Abstract:This essay argues for lyric as an anthropomorphic pattern of thought which shapes our readings of poetry and Earth. Theorizing what I call "lyric geology," the essay foregrounds two critical conjunctions: (1) the historical co-emergence of the normative lyric subject and the human species as geologic agent; and (2) the anthropomorphic genealogy of literary criticism called "lyricization" as it dovetails with Sylvia Wynter's account of the "over-representation" of colonial man as "the human itself." Reading across a seemingly eclectic archive—Charles Lyell, (...) Robert Knox, Richard Owen, and a maroon known in the Mauritian imperial archive as Simon—I show how the colonial anthropos as self-consciously theorized in and across the nineteenth century materially effectuates on a planetary scale the very racialized anthropomorphosis fallaciously naturalized as lyric. So understood, man's generic "over-representation" and lyric are co-constitutive projects. Together, they proliferate a human fantasy whose flat speciesism at once reproduces and effaces white supremacist violence and colonial dispossession. (shrink)

Abstract:This essay performs an anticolonial and poetic methodology of combining Black and Native feminists' deconstruction of metaphor and metaphysics in order to argue for the centrality of colonial metaphor to colonial metaphysics. I combine their analyses of the separate gendered metaphors of Blackness and Indianness and the centrality of these metaphors to the development of a global metaphysics as well as the transference of the terms of metaphysics to whiteness. I then apply this method of combined terms and readings to (...) white colonial writing that compares Black and Native America, which transforms both communities not only into individually potent, gendered metaphors but into an essential poetic pairing, a poetic couplet. Drawing on the work of Black and Native feminists, I further argue that when we take this paired model to evaluate the political concerns of Black and Native America, we come to a more complete and global understanding and refutation of whiteness. The creation, connection, and comparison of the gendered metaphors and archetypical figures of the "African Slave" and "Indian Savage" are important to each other and to the creation of a Western conception of the globe. Colonialism uses gender to compound metaphor's ability to create, by combining metaphors of gender with metaphors of race and colonialism to develop new symbolic amalgamations. This gestalt of metaphors comes together in order to create a fictive European metaphysics used to ameliorate white fears of the diversity of life on planet Earth and to satisfy white desires to control it. In this coupled metaphoric form, Blackness and Indianness are not connected by analogy but by the open-ended cut, the caesura, of poetry and the violence of slavery and conquest. I offer this anticolonial and poetic pairing as a model for political imagining between Black and Native theory. (shrink)

Abstract:Taking up the question of style, I argue that this term provides a generative framework for reassessing the historical challenges of feminist writing and politics. To develop my argument, I read Judith Butler's philosophy alongside Denise Riley's poems, historical criticism, and philosophical prose, proposing that both writers are inventive participants in the tradition of immanent critique. I demonstrate how feminist questioning of linguistic conventions and social norms is enfolded in Butler's paratextual reflections on philosophical grammar and in Riley's poetic and (...) theoretical efforts to acknowledge her uneasy relationship to lyric. Any dialogue between philosophy and poetry returns us to the longstanding debate about the value of these respective disciplines. I conclude by proposing that Riley and Butler encourage us to consider that each demands the other as a supplement—a necessity that emerges from the need to account for the collective life in which language is embedded. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSean P. Murphy (bio)[End Page 142] Click for larger view View full resolutionIMAGE: DIALECTICAL MATERIALISM, 2022 Acrylic paint on wood 8 x 8 x 1 inches[End Page 143] Click for larger view View full resolutionFORMALISM, 2022 Acrylic paint on wood 8 x 8 x 1 inches[End Page 3] Click for larger view View full resolutionNEW HISTORICISM, 2022 Acrylic paint on wood 8 x 8 x 1 inches[End Page 89] (...) Click for larger view View full resolutionDECONSTRUCTION, 2022 Acrylic paint on wood 8 x 8 x 1 inches[End Page 141]Sean P. Murphy Sean P. Murphy, PhD, MSN, PMHNPBC, is a Clinical Assistant Professor teaching in the University of Illinois Chicago's Psychiatric-Mental Health Nurse Practitioner doctoral program. He practices at university health and counseling centers, specializing in sexual and gender minority mental health, emerging adult populations, and trauma. Murphy holds a PhD in Literature, Cultural Theory, and Social Practice and was a tenured professor of English and Humanities prior to entering nursing. He uses visual art as a space to digest and metabolize emotions associated with clinical practice as well as to explore connections between the humanities, literary and critical theories, and science. Email: [email protected] © 2023 Cornell University... (shrink)