Commentators have compared Hans-Georg Gadamer’s focus on tradition in Truth and Method to his focus on solidarity in his later work in order to suggest that the latter signals a move away from ontological toward ethical and political concerns. This paper, however, is guided by Gadamer’s own view that his work, both early, late, and in Truth and Method, was always concerned with ethical and political issues. I therefore want to challenge the idea that his so-called politics of (...) solidarity marks a new direction in his work. His politics of solidarity does mark a new direction in discussions of solidarity insofar as he disconnects it from any necessary grounding in preexisting affinities such as religion and nationality. Gadamer’s later work may also be more explicitly concerned with the question of differences and the other than is Truth and Method. Nevertheless, I want to argue that rather than signaling a new direction for Gadamer, both his politics of solidarity and his concern with otherness highlight important features already present in his earlier account of tradition. Indeed, I think attention to this earlier account discloses a political dimension to Gadamer’s thought that is more sophisticated than his remarks on solidarity. Attention to this dimension of his earlier account allows us to challenge the now standard objection that it undermines possibilities for critical reflection. (shrink)

This article makes the political dimension of Gadamer's thought more explicit by examining the interplay of three concepts in his work: solidarity, friendship, and the other. Focusing primarily on certain post--"Truth and Method" writings, I argue that Gadamer's conception of solidarity has to do with historically contingent manifestations of bonds that reflect a civic life together of reciprocal co-perception. These bonds go beyond conscious recognition of observable similarities and differences and emerge from encounters among those who are, and (...) remain, in important ways other to each other. I make this case through an analysis of Gadamer's phenomenology of friendship and the crucial role of otherness in his accounts of both understanding and friendship. I suggest that Gadamer's political thought gives us a way of conceptualizing solidarity and otherness without making the other same or leaving the other completely other. (shrink)

On 27 September 1943, Hans-Georg Gadamer published a brief but significant article in the conservative newspaper Leipziger Neueste Nachrichten und Handels-Zeitung, entitled ‘Wissenschaft als Beruf. Über den Ruf und Beruf der Wissenschaft in unserer Zeit’ (Science as Vocation: On the Calling and Profession of Science in Our Time). The article, which addressed the problem of the value and status of science and philosophy in the midst of the Second World War, was never reprinted in Gadamer’s work, neither in (...) the ten volumes of his collected writings published by Mohr Siebeck, nor separately in books or journals. I offer here a critical introduction to the context and main contents of this text due to its philosophical, political, and historical relevance. In particular, the introduction analyses Gadamer’s confrontation with his own time through explicit and implicit references to Max Weber’s 1917 lecture, ‘Wissenschaft als Beruf’ (Science as Vocation), and traces echoes in Gadamer’s later works that bear on contemporary challenges. Following that, I present the first English translation of Gadamer’s original German text. (shrink)

To English readers certain parts of Gadamer’s Truth and Method are reminiscent of the later works of R. G. Collingwood. The expectation that Gadamer might agree with Collingwood’s view of history is suggested by the fact that Gadamer, as he tells us himself, was responsible for some of Collingwood’s works being translated into German. But Gadamer’s general assessment of Collingwood proves to be a negative one: he finds lapses and contradictions that lead him to (...) criticize Collingwood’s conception of historical understanding. I think that Gadamer is mistaken in his criticism of Collingwood, and in what follows I shall indicate how it is that Gadamer goes wrong. This is not just a defense of Collingwood because, as I shall also try to show, the very nature of Collingwood’s approach invites Gadamer’s criticism. (shrink)

One of this century's most important philosophers here focuses on Plato's Protagoras, Phaedo, Republic, and Philebus and on Aristotle's three moral treatises to show the essential continuity of Platonic and Aristotelian reflection on the nature of the good. "Well translated and usefully annotated by P. Christopher Smith.... Gadamer's book exhibits a broad and grand vision as well as a great love for the Greek thinkers."--Alexander Nehemas, New York Times Book Review "The translation is highly readable. The translator's introduction and (...) frequent annotation provide special elucidation on points of doctrinal complexity, giving ample references to other works and rival interpretations."--Choice "This book is an important addition to the steadily growing number of Gadamer's works available in English. In it, we see Gadamer at his best, that is, engaged in the practice of interpreting important texts from the philosophical tradition, and also at his most controversial.... I enthusiastically recommend this...challenging book as one that rewards all efforts to understand the important claims it makes on its readers."--Francis J. Ambrosio, International Philosophy Quarterly Hans-Georg Gadamer is professor of philosophy emeritus at the University of Heidelberg. He is the author of numerous books, including two others translated by Smith: Dialogue and Dialectic: Eight Hermeneutical Studies on Plato and Hegel's Dialectic: Five Hermeneutical Studies. (shrink)

This paper will discuss Hans‐George Gadamer’s ‘The Enigma of Health’ Chapter 2, ‘Apologia for the Art of Healing’s (1965). In this chapter, Gadamer defends the art of healing as essentially an ability to reproduce and re‐establish the health of an ill person. He considers modern medicine’s progressive reliance on technology as mechanical rather than an art of healing. In support of this concept, I will also refer to Gadamer’s Chapter 6, ‘Between Nature and Art’ and briefly to (...) Beardsworth’s ‘Practices of Procrastination’. First, I will discuss the above works showing how the authors make their arguments and what conclusions they draw, and then I will relate these arguments and conclusions to nursing, gerontological nursing in particular. (shrink)

One of this century’s most important philosophers here focuses on Plato’s _Protagoras, Phaedo, Republic, _and _Philebus_ and on Aristotle’s three moral treatises to show the essential continuity of Platonic and Aristotelian reflection on the nature of the good. “Well translated and usefully annotated by P. Christopher Smith…. Gadamer’s book exhibits a broad and grand vision as well as a great love for the Greek thinkers.”—Alexander Nehemas, _New York__ Times Book Review_ “The translation is highly readable. The translator’s introduction and (...) frequent annotation provide special elucidation on points of doctrinal complexity, giving ample references to other works and rival interpretations.”—_Choice_ “This book is an important addition to the steadily growing number of Gadamer’s works available in English. In it, we see Gadamer at his best, that is, engaged in the practice of interpreting important texts from the philosophical tradition, and also at his most controversial…. I enthusiastically recommend this…challenging book as one that rewards all efforts to understand the important claims it makes on its readers.”—Francis J. Ambrosio, _International Philosophy Quarterly_ Hans-Georg Gadamer is professor of philosophy emeritus at the University of Heidelberg. He is the author of numerous books, including two others translated by Smith: _Dialogue and Dialectic: Eight Hermeneutical Studies on Plato _and _Hegel’s Dialectic: Five Hermeneutical Studies._. (shrink)

In this final lecture, I used instructions coming from the outside as well as rhetorical philosophy up to the achievements of the United States in the way, cited the following as high as 20 U.S. I think that the achievements in philosophy, this 20 achievements are as follows: 1. Re- definition of hermeneutics, resulting in a "philosophical hermeneutics" . understand the concern of the moment rather than the ability to explain the object. 3 allows us to explain thus an awareness (...) event. 4 to become a historical understanding of events . 5 from the hermeneutic methodology In order to understand the events into ontology. 6 to understand a sight change and self-understanding of the event. 7 principles of change as history, literature and art. 8 offers a new aesthetic and poetics. 9 provides a way to deal with representational and abstract art of art. 10 and then regardless of the art real management problem. 11 reaffirmed the non-scientific literature and hermeneutics in true sense. 12 In order to read the classical works of the original to provide a new treatment. 13 new associate with the traditional relationship. 14 the art of interpretation be linked to a reading process. 15 In order to have affected the critical nursing science, history, sociology, etc. methods. 16 criticism of the limitations of the natural scientific thinking. 17 critique of modernity . 18 provides a large amount of pull on the Park map , Hegel and Heidegger books. 19 He described the dialogue by way of consultations In order to understand the contribution. 20. Tree up hermeneutics of tradition and openness to other cultures of the ancient model. With this eight p.m. description of achievements, but also showing a structure of these nine days the future of speech. In this final lecture I take an approach from the outside and ask what Gadamer has achieved in philosophy, then list twenty of what I see as his philosophical accomplishments. These achievements are as follows: 1. Redefines hermeneutics, creating a "philosophical hermeneutics." 2. Focuses on the moment of uptake instead of the object of interpretation. 3. Makes us aware of interpretation as an event. 4. Makes the event of understanding an historical event. 5. Changes hermeneutics from a methodology to an ontology of the event of understanding. 6. Makes understanding an event of transformation of horizon and self-understanding. 7. Transforms history, literature and art as disciplines. 8. Offers a new aesthetics and a new poetics. 9. Offers a view of art that is able to deal with representation and nonrepresentational art. 10. Reintroduces the question of truth in art. 11. Revalidates literature and humanities as true in a nonscientific sense. 12. Offers a new rationale for reading the classics. 13. Forges a new relationship to tradition . 14. Relates interpretation of art to the reading process. 15. Offers a critique of method that has influenced nursing, history, sociology, etc. 16. Offers a critique of the limits of scientific thinking. 17. Offers a critique of modernity. 18. Offers major books on Plato, Hegel, and Heidegger. 19. In describing dialogue in understanding, he contributes to understanding negotiation. 20. Sets an example of hermeneutical openness to tradition, antiquity, and other cultures. The framework of these lectures during these nine day is presented through accounting for the twenty achievements. (shrink)

In a series of works published over the last thirty years, Rudolf Makkreel accomplished what can be called a hermeneutical rehabilitation of Kant’s Critique of Judgment. Such a rehabilitation has been formulated in explicit opposition to the negative hermeneutical image of Kant’s aesthetics which originated in the work of Hans-Georg Gadamer, and according to which the subjectivization of aesthetics perpetrated by Kant reduced aesthetic judgments to a mere communication of feelings, sanctioning thereby their hermeneutical irrelevance. In this essay (...) I do not intend to evaluate the legitimacy of Makkreel’s considerations about the hermeneutical importance of Kant’s Third Critique. Rather, I aim to question the pertinence of those considerations for Gadamer’s criticism of Kant, specifically in relation to the notion of sensus communis, which plays a central role both in Gadamer’s and Makkreel’s analyses. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to the (...) United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

Gadamer's Truth and Method emphasises the priority of engagement with questions in the process of interpretation; however, there are passages which appear dismissive of concerns with 'dead' scientific and philosophical questions. Here I argue that Gadamer's work is nevertheless an important resource for the historical study of the genesis and dissolution of questions. This type of study can overcome the divide between internal history of contents and external history of contexts. In both philosophy and the sciences, reflection on (...) the genealogy of questions is, I suggest, crucial for our critical awareness of current methods and agendas. (shrink)

Gadamer’s retrieval of phronēsis lies at the heart of his philosophical hermeneutics. This paper argues that this retrieval requires a co-retrieval of what Aristotle referred to as character virtue, and that Gadamer’s work largely neglects this. In part one, I review Aristotle’s analysis of the relationship between phronēsis and character virtue. In part two, I show how Gadamer’s double insistence on the importance of phronēsis for his hermeneutics and on taking responsibility for concepts generates the requirement of (...) a co-retrieval of character virtues and vices. Following this, I then survey four ambiguous tendencies in Gadamer’s work that seem to militate against such a retrieval. I conclude with some remarks for future work. (shrink)

The aim of this article is to explore Gadamer’s early reflections on Plato’s utopian thought and its potential topicality. In the following section, I will show how areté, understood as a hermeneutical and existential virtue, is dialectically related to ethics and politics in Gadamer’s phenomenological reception of Plato’s philosophy. I argue that, in Gadamer’s eyes, Socratic-Platonic self-understanding enables human beings to be aware of their political responsibilities, to recognize how they are existentially and mutually related to the (...) other, and to clarify dialectically their own existential possibilities in order to transcend their inherited world of values. In the third section, I aim to show how these are the grounds on which Gadamer’s initial thoughts on the utopian dimension of Platonic political philosophy developed, mainly through his further critical account of the works on the German “political Plato” published in Germany between 1927 and 1933, i.e., Kurt Singer’s Platon, der Gründer (1927), Julius Stenzel’s Platon. Der Erzieher (1928), and Kurt von Hildendrandt‘s Platon, Der Kampf des Geistes um die Macht (1933). Then, in the fourth section, I will express my own views on the relevance of reconsidering how the notions of areté, phrónesis, and andreía are already related in Plato’s dialogues, complementing the insights on Gadamer’s interpretation of areté in section two. My purpose is to go beyond Gadamer’s reading and provide us with a more solid ground to address his late reflections on political courage and its relations with his dialectical understanding of Platonic utopia as a myth. Therefore, I will explore the problem of civil disobedience, a topic that was actually not at the centre of Gadamer’s concerns, as a genuine mode of utopian political action which can enact a true deviation from the sophistic pólis and its understanding of power. Finally, in the conclusion, I will characterize Gadamer’s portrait of Platonic utopia as a dialectical myth which enables human beings to recognize when politics are being reduced to mere power abuse by the State and also suggest why Gadamer’s approach to utopias is still relevant today. (shrink)

As is well known, Plato was a significant influence on Gadamer’s thought. Nevertheless, Gadamer’s interpretation of Plato changed through the years, and he became increasing sympathetic towards Plato in his later works after 1960’s Truth and Method. This article will examine how Gadamer’s writings on Plato after Truth and Method may inform our interpretation of his magnum opus. I will present the case that this not only leads to rethinking Gadamer’s relation to Plato, but also (...) has wider implications for his hermeneutics and for potential reconsiderations of key aspects of the text. I point to the possibility that if we do not sufficiently appreciate these changes in Gadamer’s interpretation of Plato, this may not only distort our understanding of Gadamer’s reading of Plato, but perhaps more importantly neglect how Platonic conceptions may inform his own hermeneutic project as it is outlined in Truth and Method. (shrink)

The essay takes as its point of departure the way in which the work of Hans-Georg Gadamer has recently been adopted by philosophers such as Richard Rorty, John McDowell, and Robert Brandom. While appreciating the way in which Truth and Method has gained new relevance within an Anglo-American context, I ask whether sufficient attention has been paid to Gadamer’s romantic heritage. In particular I question the way in which his notion of tradition and historical truth, designed as it (...) is to overcome the ramifications of Descartes and the Kantian enlightenment, is modeled on the example of art and aesthetic experience. (shrink)

The information explosion and digital modes of learning often combine to inform the quest for the best ways of transforming information in digital form for pedagogical purposes. This quest has become more urgent and pervasive with the ‘turn’ to online learning in the context of COVID-19. This can result in linear, asynchronous, transmission-based modes of teaching and learning which commodify, package and deliver knowledge for individual ‘customers’. The primary concerns in such models are often technical and economic – technology as (...) a cost-effective ‘solution’ to educational challenges. In this paper I argue for the importance of dialogic learning space in teaching and learning by means of Information and Communication Technologies, whether in the form of fully online learning, blended learning or face-to-face encounters using ICT affordances. Although the 20th Century theorists Mikhail Bakhtin (1895–1975) and Hans-Georg Gadamer (1900–2002) produced their seminal works before the advent of ICTs, they were both concerned with the quality and authenticity of human engagement with texts and with other persons and contexts. Besides a shared interest in dialogue as an ontological feature of human life and being, they both used spatiotemporal concepts for understanding and interpreting texts. The article draws on Gadamer’s notions of dialogue and horizon, and Bakhtin’s notions of dialogue and chronotope, to conceptualize dialogic possibilities for online education. Its purpose is to provide a framework, grounded in Bakhtin’s and Gadamer’s ideas, for a dialogic approach to online teaching and learning in higher education. (shrink)

Professor Gadamer wrote two lengthy final essays that culminate his collection of essays on aesthetic theory in his Collected Works [Gesammelte Werke], volume 8, titled Kunst als Aussage [Art as Assertion]. The first of the two essays is "Wort und Bild: 'So wahr, so seiend!' "[Word and Image:" So true, so full of being! "] and the other is" Zur Phanomenologie von Ritual und Sprache "[On the Phenomenology of Ritual and Language]. Neither of these two late essays has (...) yet been translated into English. The first was composed in 1991 and the other in 1992and they appeared in volume 8 in 1993. At the 1998 meeting of the International Association for Philosophy and Literature, I offered the present paper as an analysis of Gadamer's concept of Bild as given in the essay, "Wort und Bild." I presented my paper in the form of eleven assertions Gadamer makes about artworks that take the form of a visible image. I clarified each of the assertions briefly . Some of the major claims about the artwork that are made by Gadamer in these eleven propositions are: that it hold a certain sovereignty in its very being, it presents itself as contemporaneous with the viewer no matter how old it may be, it "takes place "for the viewer as an event in time, it absorbs the viewer into itself, it is by no means merely a copy of something, it is both beautiful and true and escaper all external measurement, and finally it is" read "in the way that one reads a text. The process of reading has a great deal to say about the way we experience any artwork. These eleven assertions constitute a good introduction to Gadamer's account of the experience of the artwork. (shrink)

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key (...) aspects of his philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gadamer On Art, Morality, and AuthorityKenneth L. BuckmanMary Devereaux claims that the problem of morality in the twentieth century and the anxiety caused by the fear of moral chaos fall into two main responses: (1) one looks to the past because the past seems to afford what the present lacks, i.e., a commonly shared and stable moral reality; and (2) one looks to the present and comes to (...) terms with the way things are, a strategy of accommodation that revises our over inflated notions of knowledge and justification, particularly moral justification. 1 She sees Gadamer’s work as an additional option that responds to this problem. Devereaux says Gadamer’s response to the collapse of traditional morality is a turn to the experience of art wherein one derives morals from an extra-moral sense. Thus, Gadamer’s aesthetic example serves as a source of moral value. Devereaux says Gadamer’s project fails, in that his account contains an optimistic and unquestioned assumption that art always operates to our benefit (p. 71). However, Gadamer is appreciative of the deficiencies and dangers inherent in the kind of view he holds and does not hold an excessively optimistic, romanticized, naive, or prescriptive view of tradition. Gadamer’s account is a descriptive explication of the manner in which societies acquire the authority to form values.Devereaux’s account is to a large extent fair and accurate. However, despite her empathy with Gadamer’s account, she has reservations about the accuracy of Gadamer’s description of art and questions the depth to which he understands the current ethical crisis. She maintains that Gadamer’s analysis indicates a preference for a certain kind of art [End Page 144] (i.e., classical), and much of twentieth-century art (Tinguely, Cage, Burden, etc.) is outside the purview of Gadamer’s analysis. Though each individual artwork, in Gadamer’s view, can serve as a metaphor for ordering in general, Burden et al. aim, “not simply to introduce new materials or new subject matter within an existing artistic framework, but to alter the frame” (p. 69). These artists reconceive the very nature of artistic activity and change the rules by substituting the accidental, the incomplete, and the self-contradictory in place of selection and craft (pp. 69–70). Recent artistic principles have deconstructed the notion of order, showing the failure of order itself. Should we even grant that certain types of traditional art function as Gadamer has indicated? Though we might hope for the desired result of moral cohesion, Devereaux says, we are still faced with the problem of availability and the extent to which a person’s contact with art generates the necessary moral education. Her most serious charge is Gadamer’s “unquestioned assumption” that art always operates to our benefit (p. 71). The reliance on shared tradition, Devereaux argues, positions Gadamer to argue that the interaction with texts serves the positive moral function of social cohesion. However, Gadamer’s willingness to assign normative authority to tradition opens him to serious charges of conservatism, most prominently from the criticism and viewpoint of feminists and black scholars, and he “does not acknowledge those for whom the authority of that tradition is deeply and unquestionably problematic. Might not a coherent tradition, if achieved, function oppressively?” (p. 71). Devereaux claims that Gadamer rejects this possibility.Devereaux’s criticisms thus fall into these five areas: (1) Gadamer privileges a certain kind of art (i.e., classical); (2) for Gadamer art serves as an ordering, but it does not fulfill that capacity; (3) Gadamer is unclear about the availability and the degree of contact members of a society must have with art in order for the artwork to function in its moral capacity; (4) Gadamer wrongly assumes that art always operates to our benefit; and (5) Gadamer’s acceptance of the normative authority of tradition is oppressive. Devereaux errs in all of these criticisms.Devereaux’s criticism of Gadamer’s aesthetic theory in general, disconnected for the moment from its supposed moral implications, is that his analysis is concerned with traditional or classical forms of art, ignoring the less integrative forms of art of the late twentieth century. Though it may... (shrink)

Through the thickets of recent debates, I take two facts as clear enough starting points. The first is that Heidegger’s participation in National Socialism, and especially his remarks and pronouncements after the war, were, and remain, horrifying. The second is that Heidegger remains of the essential philosophers of our century; Maurice Blanchot testifies for several generations when he refers to the “veritable intellectual shock” that the reading of Being and Time produced in him.5 And Emmanuel Levinas, not hesitating to express (...) his reservations about Heidegger, can nevertheless bring himself to say that a person “who undertakes to philosophize in the twentieth century cannot not have gone through Hiedegger’s philosophy, even to escape it.”6 In this century, perhaps only Ludwig Wittgenstein has had a comparable impact and influence on philosophy. I do not mean to deny that one can reject the over seventy volumes of Heidegger’s Gesamtausgabe as worthless, that one can, as with Wittgenstein, find that his work is obscure, indulgent, impossible to read, that nothing in it contributes to philosophy. But both Heidegger and Wittgenstein write in anticipation of this reaction, recognizing that their desires, differently articulated, to overcome philosophy will help to determine how their writing is received. Stanley Cavell’s characterization of Wittgenstein’s Philosophical Investigations describes Heidegger as well:Philosophical Investigations, like the major modernist works of the past century at least, is, logically speaking, esoteric. That is, such works seek to split their audience into insiders and outsiders ; hence they create the particular unpleasantness of cults ; hence demand for their sincere reception the shock of conversion.7When combined with Heidegger’s political engagement, the particular unpleasantness of cults and indifference are more than joined. Thus it can seem as though one must either exculpate Heidegger, explain away his relation to Nazism as an aberration from the outside, or reject his thought entirely, declare that his books should no longer be read. In an attempt to begin to confront these issues, Critical Inquiry is publishing this symposium. 5. Maurice Blanchot, “Thinking the Apocalypse: A Letter from Maurice Blanchot to Catherine David,” trans. Paula Wissing, p. 479 of this issue.6. Emmanuel Levinas, Ethics and Infinity: Conversations with Philippe Nemo, trans. Richard A. Cohen , p. 42. See also the last line of Gadamer, “ ‘Back from Syracuse?’ “ p. 430.7. Stanley Cavell, The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy , p. xvi; hereafter abbreviated CR. Arnold I. Davidson, a coeditor of Critical Inquiry, is associate professor of philosophy and member of the Committees on General Studies in the Humanities and on the Conceptual Foundations of Science at the University of Chicago. His most recent contribution to Critical Inquiry is “Sex and the Emergence of Sexuality”. (shrink)

Debates in feminist political philosophy often focus on what problematic(s) to use in order to understand normative ideals, gendered differences, and their histories. For the purposes of this chapter, I will contrast two important problematics in these debates, the procedural/deliberative politics in the tradition of Critical Theory, represented here by Seyla Benhabib, and the poststructuralist or postmodern politics, represented here by Judith Butler. The goal of the contrast will be to set up the contribution that Gadamer’s work can make (...) to contemporary feminist philosophy. (shrink)

The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of (...) historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

Paul Klee's art found broad impact upon philosophers of varying commitments, including Hans-Georg Gadamer. Moreover, Klee himself was not only one of the most important artists of aesthetic modernism but one of its leading theoreticians, and much in his work, as in Gadamer's, originated in post-Kantian literary theory's explications of symbol and allegory. Indeed at one point in Truth and Method, Gadamer associates his project for a general "theory of hermeneutic experience" not only with Goethe's metaphysical account (...) of the symbolic but equally with a "rehabilitation" of allegory. In this paper, I examine this position and Gadamer's own use of it in his analysis of Klee's work, contrasting it with that of Walter Benjamin's account of allegory, equally indebted to Goethe and this archive. Finally, I contrast the resulting interpretations of Klee, discussing the implications that evolve for understanding both Gadamer and Benjamin— but equally for understanding Klee's work and, provisionally, the work of art, thus construed, for philosophy. (shrink)

Chapter 1 reconstructs Gadamer's fundamental philosophical task. The task is the problem of certainty, which is the problem of responding in some way or another to reasons that seem to show that we need, but cannot complete, the justificationalist project. Justificationalism is the view that we need a special philosophical of all human knowledge all at once. Chapter 2 argues that Hegel and Heidegger both try to solve the problem of certainty by transforming the realist conception of truth on (...) which it depends. Chapters 3 and 4 argue that Gadamer provides the resources for a different response. By exploiting similarities between Gadamer's account of understanding and externalism in analytic epistemology, I argue that there is a possible position, hermeneutic externalism, which is based on Gadamer's concept of authority. Chapter 5 tries to show how hermeneutic externalism finally provides an answer to the problem of certainty. The conclusion that I would like to draw from the whole of this work is that Gadamer is a realist and an externalist, in the sense that those views represent what he should think. He should embrace externalism and realism because they best represent his genuine insights and they best address the philosophical task as he conceives it. (shrink)

Over the last eighty years, studies in play have carved out a small, but increasingly significant, niche within the social sciences and a rich repository has been built which underscores the importance of play to social, cultural, and psychological development. The general point running through these works is a philosophical recognition that play should not be separated from the trappings of everyday life, but instead should be seen as one of the more primordial aspects of human existence. Gadamer (...) is one philosopher frequently associated with interest in play. In his magnum opus, Truth and Method (1960), Gadamer insisted the significance of play to human understanding is not merely recreational, but rather it discloses the full context of any given situation by promoting a freedom of possibilities within the horizon of one’s own life-world (i.e. the world directly and immediately experienced). As such, his philosophical analysis of play was essential to his overall project of philosophical hermeneutics as it can explain how meaning is not derived from something essential within a text, but rather considered from a full range of possibilities. There are good reasons to expand on that understanding of play within philosophical studies and we suggest one way to do so is to compare Gadamer’s treatment of play with similar ideas from thinkers often associated with other philosophical schools. Although there are other candidates (e.g. Wittgenstein’s language games) for such an analysis, we limit our comparison here to the notion of transaction, as treated by the American pragmatist John Dewey in his volume Knowing and the Known (co-authored with Arthur Bentley in 1949). Because Dewey tied his conception of transaction to an overarching philosophy of inquiry, we believe comparing it to Gadamer’s use of play can highlight the deep philosophical import of this concept to the understanding of philosophical inquiry. (shrink)

Gadamer’s notion of dialogical truth relies on the claim that self and world “belong together” as aspects of a single, unitary phenomenon, one which is made manifest in language. This view has difficulty, however, accounting for that which is untruthful. To get past this obstacle I suggest that we turn to Nishida’s work, which shows how we can bring self and world together into a kind of harmony such that the cultivation of perception makes possible truthful expression.

In this paper, I offer both a brief study of Collingwood's conception of historical explanation and epistemological historicity, and an examination of the influence of Collingwood's work on the historical methodology of Quentin Skinner and on Gadamer's hermeneutic philosophy. Collingwood's work on the philosophy of history manifests a tension between the realist implications of the doctrine of reenactment and the logic of question and answer on the one hand, and, on the other, the constructionist tendency of the rest of (...) his work on the logic of historical inquiry and on the hermeneutic character of his more general conception of human historicity. This tension is displayed in the divergent interpretations of Collingwood by Quentin Skinner and Hans-Georg Gadamer, and in the inherent difficulties of each man's philosophy of history. I argue that the weaknesses of Skinner's methodological historicism are present already in his reading of Collingwood and reflect the difficulties inherent in understanding Collingwood as offering primarily a methodology of history. I also claim that Gadamer's hermeneutic philosophy, while presenting a more plausible reading of Collingwood, suffers from tensions similar to those within Collingwood's work between the logic of explanation and the logic of practical recommendation, and between the character of historical explanation and the character of philosophical understanding. (shrink)

Aus-einander-setzung between Hermeneutics and Deconstruction and Gadamer's Concept of Solidarity This paper will analyze the debate between Gadamer and Derrida and Gadamer's concept of solidarity. The previous research literature focused only on their first debate, which could only lead to limited results, even though the exchange between these two philosophers continued after the first debate. In addition, Gadamer revised a large part of his speech, which caused the first debate with Derrida, for publication. In this way, (...) the accentuation of concepts and themes that Derrida found problematic in the published version differs considerably from that in Gadamer's real speech. For this reason, this paper will consider Gadamer's original manuscript, which is preserved in Deutsches Literatur Archiv in Marbach. My point is that in Derrida's funeral oration for Gadamer, Uninterrupted Dialogue, can be found some shared points of view between both philosophers, namely their interpretation of Paul Celan's poems. By means of their Celan interpretations, I will demonstrate that it is not good will that unites all human beings, but their existential fate to find death. Here we encounter the problem of solidarity in Gadamer's work, since in his interpretation of Celan he considers death (or mortality) to be the "ultimate solidarity" of human beings, whereas in his other texts he defines solidarity as a kind of friendship. Hence, Gadamer's understanding of solidarity is discussed in the last part of this paper. My argument is that the concept of solidarity and that of belonging are interconnected in Gadamer's texts and that in this point the concept of openness shows its fundamental role. (shrink)

Some more recent scholarship that challenges received wisdom about Gadamer not withstanding, it remains common to associate his hermeneutical approach to art and literature, along with his hermeneutics generally, with political and cultural conservatism. In this essay, however, the author argues that some of Gadamer’s significant, but underappreciated, later essays on Hegel’s aesthetics further support and nuance the rising recognition of Gadamer’s sensitivity to the discontinuities, dislocations, and fractures that pervade any experience of the past. Specifically, (...) class='Hi'>Gadamer’s critical response in these essays to Hegel’s familiar thesis that art is a “thing of the past” sheds light on the special hermeneutical difficulties faced in the present historical juncture—a time, which Gadamer suggests is increasingly alienated from its own heritage. As I wish to show, Gadamer believes this schism to signal not an end of Western art, but, rather, a liberation of art that releases novel possibilities for artistic practice and for the interpretation of art. Far from being a conservative who might deny or lament the rupture of tradition, then, Gadamer’s take on the Hegelian thesis reveals Gadamer to acknowledge and even embrace this withdrawal of tradition as a source of new meaning and experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 113-126 [Access article in PDF] Gadamer on Poetic and Everyday Language Christopher Lawn Gadamer's writings since the appearance of his ground-breaking Truth and Method 1 elaborate and defend the diverse claims of his much-contested philosophical hermeneutics. This is taken further in many recently translated essays where we witness the application of basic hermeneutical insights to areas as various as pedagogical theory and (...) modern medical practice. These investigations are important, as they testify to the universality of hermeneutics. Yet more significant in Gadamer's recent work is a pronounced turn towards "the poetic." Despite large claims in Truth and Method about the irreducibility of the linguistic, there is precious little on the poetic in this work, apart from a few asides about the relationship between poetry and the everyday language of conversation. The distinction between poetic language and everyday language of the "life world" makes a token appearance in Truth and Method (TM, pp. 469-70) and increases in significance in more recent works, especially those occasional essays devoted to aesthetics, poetics, and hermeneutically inspired readings of modern German lyric poets. 2A good deal turns on the distinction between "everyday" or "ordinary" language and "poetic" language. Gadamer's increasing appreciation of the poetic leads him into interpretations of contemporary poetry, notably the hermetic lyric of Paul Celan. 3 The different dimensions to language are brought into relief when considered in relation to the notion of play. Like the poetic, "play" and "playfulness" are cursorily mentioned in the First Part of Truth and Method as repressed aspects of the truth of the work of art. When hermeneutically reclaimed, they stand as a buttress against subjectivist, modernist versions of the aesthetic. Yet Gadamer fails to fully thematize "play," as it disappears [End Page 113] from view in Parts Two and Three of Truth and Method, losing itself in the interpretive turn towards those other facets of hermeneutic truthfulness, historicality and language. In the later essays, specifically those reflecting upon the poetic and the aesthetic, "play" becomes wider and assumes a much greater significance. Play, and this is most evident in the language of poetry, reveals itself to be a fundamental characteristic of language itself.Notions of "play" and "language-games" are more obviously associated with the later work of Wittgenstein. Many critics have observed, en passant, an obvious proximity between Wittgenstein and Gadamer, although their closeness has been noted rather than explored 4. Converging around the issue of everyday language, Gadamer and Wittgenstein radically disagree vis-à-vis "poetic language." For all his appreciation of language's specificity and consequent resistance to theory, its endless slipperiness and variety, Wittgenstein, early or late, seldom confronts language at its most opaque and elusive, that is, in the poetic.What does this Wittgensteinian silence about "poetic language" reveal? The movement away from a logic-driven picture theory of meaning (in the Tractatus Logico-Philosophicus) to the more informal, loosely textured, pragmatics of language (in the Philosophical Investigations), represents hostility to philosophical abstraction and an appreciation of the "rough ground" of ordinary, philologically speaking, "living,"language. What should we say of the literary and poetic dimensions to language, themselves significant dimensions to "living" language? The ability of the language-games to change, the capacity of language to transform itself and work in new uncharted regions--about these Wittgenstein is largely silent.Gadamer's concern with the poetic shows how many of these questions might be addressed from within another philosophical tradition. Were Wittgenstein less inscrutable, it would be tempting to regard the ordinary/poetic distinction, and its dependence upon the notion of "play," as a clear advance on the familiar language-game model. This is a temptation I partially resist. Wittgenstein's enigmatic comments, in the closing pages of the Philosophical Investigations, on "aspect-dawning," "seeing-as," gestures, and pictures, not to mention his compressed and aphoristic "poetic" style, force one to draw back from such an easy conclusion. [End Page 114] I In "Philosophy and Poetry" (OTROTB, pp. 131-39) the different aspects of language are likened to types of currency in... (shrink)

Debates in feminist political philosophy often focus on what problematic(s) to use in order to understand normative ideals, gendered differences, and their histories. For the purposes of this chapter, I will contrast two important problematics in these debates, the procedural/deliberative politics in the tradition of Critical Theory, represented here by Seyla Benhabib, and the poststructuralist or postmodern politics, represented here by Judith Butler. The goal of the contrast will be to set up the contribution that Gadamer’s work can make (...) to contemporary feminist philosophy. (shrink)

This article asks what Gadamerian hermeneutics can contribute to recent debates about how philosophy is related to its history. First, I explain how Gadamer understands this relation, paying particular attention to his debts to Heidegger and to the role of tradition in the human sciences. Next, I argue that Gadamer’s view raises serious difficulties—difficulties connected with what he calls historicalconsciousness. Finally, I try to respond to these difficulties by distinguishing two different ways of understanding what historians of philosophy (...) do. While my response is in some tension with what Gadamer explicitly says about the history of philosophy, it is, I argue, consistent with the spirit of his work. (shrink)

Even though there is an ineluctable abyss between Analytic and Continental Philosophy, it is not hard to argue that in his later works Ludwig Wittgenstein draws a closer philosophical attitude to the latter in terms of that the notions developed by him, such as language-games, family resemblances, meaning-in-use or rule-following, apart from his earlier nomological approach to language, leave room for various understandings and uncertainty in language. In the present work, my primary task is to concentrate on the close (...) relationship between the Wittgenstein’s notion of family resemblances and Gadamer’s idea of the fusion of horizons. But both philosophers, coincide in criticizing the authority of the Cartesian subject and private language and in allowing different understandings and uncertainty in language. Starting from this point of view, the linguistic turn, I will turn my remarks on the question how we learn color concepts since the structure of these concepts radically differs from the words that are able to subject to ostensive definitions. This last section will also offer a hermeneutical reading of Wittgenstein’s notion of family resemblances. (shrink)

Gadamer's project in Truth and Method is as much about truth in the human sciences as it is about human subjectivity, for, following Heidegger, he claims that truth is reducible to method (technical rationality) only if one is misled by old Enlightenment subject/object dualisms. Posing the question of the possibility and nature of truth in scientific thinking, where a strict division between subjective and objective has fallen away, Gadamer belongs, as one of its inaugural figures, to an alternative (...) tradition of philosophical complexity, which implicates environmental systems (culture, ideology, institutions), embedded in language, in the constitution of human subjectivity.With these theoretical shifts in mind, what caught my attention in a press report concerning the trial of (subsequently convicted) serial killer, Stewart Wilken (“Boetie Boer”), was the strangely anachronistic question that dominated the front page of a Port Elizabeth newspaper: “Boetie: Is he Sick or Evil?” This question, in my view, harks back to a questionable framework of Enlightenment autonomy, which depends upon the easy technical rationality of clear-cut dichotomies. In what follows I hope to show that in acknowledging the role of complex interrelations between cultural and other systems, a tradition of philosophical complexity justifiably claims a more adequate framework for understanding self- formation than that underpinning the discourses at work in Wilken's trial. I shall draw on Gadamer's hermeneutic model of an “embedded”subject, which is based on his speculative model of “play” out lined in Truth and Method, and supplement this with Lacan's psychoanalytic account of subject formation. S. Afr. J. Philos. Vol.21(4) 2002: 258-273. (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically (...) them from the sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)

Recently philosophers interested in bridging the gap between continental and analytic philosophy have looked to connecting Hans‐Georg Gadamer’s philosophical hermeneutics with Donald Davidson’s philosophy of language. Both seem to share a number of positions, and each was familiar with the other’s writings. In this essay, I look at Davidson’s criticisms of Gadamer’s hermeneutics—in particular Gadamer’s view that dialogue always depends on a shared language and, when successful, produces a new common language to understand a topic. I argue (...) that Davidson’s objections miss the way Gadamer is using conversation as a technical term. Working out the difference between what Davidson and Gadamer mean reveals a deeper divide between their views about the relation between language and thought. (shrink)

When the first publication of Hans-Georg Gadamer's magnum opus Wahrheit und Methode came to life in I960, the work was initially received with a slight sense of puzzlement and yet concurrently acknowledged as monumental. The title, in English, Truth and Method, was regarded by the philosophical community both in Germany and abroad as being somewhat obscure, as Gadamer himself would later admit, but the ingeniousness of the book's content could hardly be debated. Since its initial publication, Truth and (...) Method has, respectively helped to expand and light up the horizon of modern hermeneutics by provoking, at once, a reconsideration of the phenomenon of understanding while, at the same time, enlivening the debate over scientific methodology and its exclusive claim to truth. The central aim of the present thesis has been to focus on Part I of Truth and Method, concentrating primarily on the 'guiding humanistic concepts' and the experience of truth in art, to clarify Gadamer's understanding of truth and to shed new light as to how the experience of tmth is to be grasped in relation to the human sciences, i.e. the humanities. The humanistic concepts, I believe, are vital to understanding the experience of truth. One reason, which leads me to this conclusion, is that in Truth and Method Gadamer begins his philosophical undertaking with the elucidation of the humanistic concepts rather than with a direct exposition of truth. By opening with the humanistic concepts, Gadamer seems to demonstrate subtly the phenomenological and ontological nature of knowledge and understanding. The outcome of this manoeuvre is that one comes to realise that truth does not simply belong to method and that it is not something which can be defined solely as 'absolute certainty'. Moreover, in my interview with Professor Gadamer, the humanistic concepts, he explained to me, are the most 'natural' and 'original' concepts. By natural and original he means that these concepts are intrinsic. They evolve from life as well as being a part of life, i.e. a way of living. Thus these concepts, he affirmed, represent 'a way of life' and a way to truth. Consequently, insofar as comprehending the phenomenon of truth, I believe any and every investigation of the concept of truth must begin with the understanding of the humanistic tradition. The following thesis however does not end simply with the humanistic concepts. It also devotes to examining the truth-claim or the 'truth-experience' of art. This part of the inquiry centres on two important questions: How are we to understand art? What does it mean to experience art? The challenge here has been to show how Gadamer overcomes Kant's subjectivation of the aesthetic experience and to demonstrate how and why Gadamer considers the experience of art as the 'self-presentation' of being. In surveying the various works of criticism I have tried to draw attention to what seem to me to be the most insightful comments and analyses. If 1 have failed in any way to supply proper acknowledgement to ideas, which might seem close to other critical works, I offer my apologies. As I am sure those in the research business know well, in reflection ideas often interfuse with one's own, making it difficult sometimes to discriminate between one's own ideas from another's. However, I have tried my best to keep from that error. (shrink)

The relationship between 20th-century phenomenology and the transcendental program launched by Immanuel Kant is crucial, but delicate. First there is Husserl, who seemed both attracted to and seriously critical of Kant's first Critique. Then there is Heidegger's ambition to scour the entire field of the three Critiques. Most important in this context, is probably his reading of the Critique of Pure Reason in Kant and the Problem of Metaphysics . Faithful to his notion of a salvaging “destruction” of the philosophical (...) tradition, Heidegger argues that the earliest version of Kant's work, the so-called A-deduction, is radically different from the philosophy promoted by the neo-Kantians. Kant, he claims, was not really interested in epistemology in the narrow meaning of the term. He was, rather, a philosopher verging upon a genuine ontology of Being, but who, for reasons that remain unknown, felt forced to leave these tracks behind in order to pursue the transcendental conditions of knowledge. Then there is the second Critique, which Heidegger approaches through a discussion of the Kantian notions of freedom and causality. And, finally, there are his remarks about the Critique of Judgment, scattered all over his writing on art from the early 1930s onwards. However, Heidegger never produces a proper, systematic account of the relevance of the third Critique. Such an account, I argue in this essay, is provided by Hans-Georg Gadamer. (shrink)

In the Nicomachean Ethics, Aristotle places the art of medicine alongside other examples of technē. According to Gadamer, however, medicine is different because in medicine the physician does not, properly speaking, produce anything. In The Enigma of Health, rather than introducing Aristotle’s intellectual virtue of phronēsis (practical wisdom) as a way of understanding medical practice, Gadamer focuses on how medicine is a technē “with a difference”. In this paper, I argue that, despite the richness of his insights, this (...) focus prevents Gadamer from reaching an adequate account of health and the practice of medicine, and I demonstrate how making phronēsis central via a phenomenological description furthers our understanding of the art of healing in important ways. The paper begins with an exploration of Gadamer’s understanding of phronēsis and technē (via Heidegger) to provide a foundation for a phenomenological analysis of the art of healing. After considering the shortcomings of Gadamer’s analyses, I introduce a working definition of “health” that both captures the spirit of Gadamer’s insights and prepares the ground for a phenomenological description. Finally, I introduce concepts from Merleau-Ponty in order to establish an adequate account of the relation between technē and phronēsis and a more nuanced understanding of experience as unfolding within the expressive trajectories forged by bodies that are subject to the weight of the past and the weight of the ideal. The art of medicine, I argue, needs to be understood as expressive behavior in the context of historically and socially situated individuals, institutions, and open trajectories of sense. (shrink)

One important element in Lonergan’s philosophical work is the attempt to demonstrate the essential continuity between Aristotle’s thought and the explanatory viewpoint of modern science. Among other things, this attempt is meant to serve a two-fold purpose: first of all, to defend both Aristotle’s intellectualist metaphysics and the explanatory aspirations of modern science over against the caricatured representations of each which grew out of the Renaissance debate between the Aristotelians and the proponents of modern science; and secondly, to demonstrate the (...) intrinsic limitations of modern scientific humanism in much the same way that Aquinas tried to demonstrate the essential incompleteness of Aristotle’s non-Christian world view. Now Gadamer would not deny that there is an essential continuity in thought from Aristotle to modern science; in fact, he explicitly affirms such a continuity. And like Lonergan, Gadamer insists that modern science must play a legitimate, though restricted, role within contemporary culture. Given these and other important similarities between Gadamer and Lonergan, it may be difficult to see just where the grounds for possible disagreement lie. As a result, Gadamer’s reservations concerning Lonergan’s philosophical project may appear to be somewhat puzzling. In what follows, I shall try to shed light on some of the reasons for Gadamer’s reservations. (shrink)

RÉSUMÉ: Cet article propose une analyse détaillée des considérations de Hans-Georg Gadamer sur l’herméneutique théologique proprement dite. Pensée dans et pour la foi chrétienne, la conception de l’herméneutique théologique qu’il met en avant se veut essentiellement une herméneutique du texte biblique. Les réflexions de Gadamer sur ce thème nous conduisent cependant tout droit dans sa théorie de la littérature. La question directrice devient celle de la nature du texte religieux (entendons : du texte biblique, reçu en son unité (...) canonique) en tant que texte éminent, dont la structure singulière est mise en relief au moyen d’une éclairante comparaison avec les textes poétique, philosophie et juridique. L’Écriture, en tant qu’elle répond à la structure textuelle de la promesse, exige du lecteur une forme particulière d’appropriation qui trouve sa réalisation exemplaire dans la prédication. Toutefois, contre une lecture (Ommen, Eberhard, etc.) qui insiste sur la discontinuité de l’herméneutique théologique de Gadamer avec sa propre oeuvre philosophique, je soutiens la thèse de leur foncière cohérence. ABSTRACT: This paper offers a detailed analysis of Hans-Georg Gadamer’s considerations on theological hermeneutics proper. Thought within and for the Christian faith, the conception of theological hermeneutics he puts forward is mainly understood as a hermeneutics of the biblical text. However, Gadamer’s reflections on this theme bring us straight to his theory of literature. The guiding question becomes that about the nature of the religious text (meaning : the biblical text, received in its canonical unity) as eminent text, which peculiar structure is thrown into relief through an enlightening comparison with the poetical, the philosophical and the legal text. The Scripture, in that it has the textual structure of a promise, requires from the reader a particular form of appropriation, which finds its exemplary fulfillment in preaching. Against a reading that emphasizes discontinuity between Gadamer’s theological hermeneutics and his own philosophical work (Ommen, Eberhard, etc.) I defend the thesis of their fundamental coherence. (shrink)

Shan Shui art is a traditional style of Chinese landscape painting that has had a lasting impact on Chinese culture. This paper attempts to view a masterpiece of this genre of art – the artwork entitled ›Hermit Dwelling in the Qingbian Mountains‹ by Wang Meng – from the perspective of Hans-Georg Gadamer’s philosophy of art in order to show how such an artwork can convey an ontological insight for those who experience it. Instead of viewing the artwork as simply (...) an aesthetically pleasing landscape and thereby relegating the experience to the realm of feeling as is common in modern Western approaches to art, I argue that the artwork is best understood as imparting meaning into our lives by opening up a new perspective on reality. Specifically, I show the Daoist principles and concepts that underlie shan shui art at work in Wang Meng’s (c. 1308–1385) masterpiece. The Gadamerian approach adopted provides an appropriate avenue to respect Wang Meng’s artwork and other paintings in the shan shui genre on their own terms for those embracing a contemporary Western aesthetic sensibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 115-116 [Access article in PDF] Robert J. Dostal, editor. The Cambridge Companion to Gadamer. New York: Cambridge University Press, 2002. Pp. xiii + 317. Cloth, $65.00. Paper, $23.00. This twelve-essay collection should introduce Gadamer to new readers while engaging those familiar with his work. Essays treat central elements of Gadamer's hermeneutical philosophy: his concept of understanding; tradition and (...) authority; the ontology of language; and the centrality of dialogue. A varied group of scholars trace Gadamer's major philosophical influences and situate him in debates with rival critics of modernity.The book opens with Robert Dostal's biographical sketch, from Gadamer's Marburg years, fascination with Heidegger's interpretation of Aristotle, and the Leipzig rectorship, through his productive Heidelberg period, reception of Truth and Method, and later engagement with issues like globalization and health. Dostal rejects claims of Nazi collusion, and characterizes as superficial critiques of Gadamer's writings at this time on Plato and Herder. Dostal might have gone further: Gadamer's writings develop a politics of recognition among equal, different and autonomous subjects, and his central notions of conversation and I-Thou dialogue are deeply anti-authoritarian.For a general audience, Charles Taylor best communicates the humane relevance of Gadamer's thought, astutely captured as the challenge of trying to understand others without absorbing them into our interpretive frameworks but by letting them challenge those frameworks. New readers might also benefit from accounts of Gadamer's notion of understanding (Jean Grondin) and its ethical dimensions (Georgia Warnke).For readers more familiar with Gadamer, Brice Wachterhauser illustrates the critical dimensions of Gadamer's views of tradition and authority, drawing on John McDowell's work, illuminating the intentional character of belief justification. Falling into neither skepticism nor objectivism, Wachterhauser shows that Gadamer's claim, "Being that can be understood is language," is inextricably tied to epistemic realism: while our beliefs are formed through interpretations, they remain answerable to the world. "Our world has an 'inherent' intelligibility that is... 'independent' of the languages, traditions and standpoints through which the world is mediated" (73). Otherwise, the world could not challenge us—Wachterhauser's reading thus has the virtue of accounting for the experience of the tug of, e.g., nature or a text against willful or incorrect claims to know it.Quite different is an essay by J. M. Baker, who explores Gadamer's view that the relevance of poetry for philosophy is its speculative content. Contrasting Hegel's claim that poetry no longer reveals truth and is superceded by the prose of philosophy, Baker illustrates Gadamer's view with readings of Mallarmé and Rilke. Mallarmé, says Baker, "elaborated a language that at once brings things otherwise inaccessible into presence yet defeats any attempt to name that presence," his "pure poetry" repudiating reference yet suggesting a kind of revelation. Poetry expresses the "invisible," by which is meant not the opposite of the material, but "... things [that] have in their same material exteriority an invisibility that has first of all to be articulated" (158). This articulation, for Gadamer, is the first task of a post-Hegelian aesthetic.Richard Bernstein outlines the intersections of hermeneutics, critical theory, and deconstruction, using each to reveal the others' aporia. For Habermas, phronesis does not go far enough in understanding modernity's pathologies, showing the need for democratic political theory. For Gadamer, efforts to build a universal political theory lack an appreciation of human finitude. Derrida's skepticism about slippage and misprisions of language challenges Gadamer's account of the "fusion of horizons," which emphasizes [End Page 115] dialogical achievement in understanding. Yet Derrida's deconstruction depends (to have effect through language) on a concern for coherence, as his view of the "undecidability" of ethical decisions shares the risk to identity of Gadamer's commitment to the "openness of experience."In a provocative essay, Robert Pippin analyzes Gadamer's complex relation to Hegel. Gadamer shares a view of Hegel as mired in a philosophy of consciousness, i.e., the "problem of reflection." Tracing the trajectory of this problem from Locke... (shrink)

Over the last few years, the concept of “wilderness” has come under attack by environmentalists deeply committed to sustaining the natural world. Their criticisms are pointed and undeniably strong; moreover as I will argue, very similar critiques could be made of its putative counter-concept, “the city.” Yet in both cases, we need not simply reject the concepts themselves as incoherent; our challenge is rather to develop resources rich enough to show that and why they must stand in a constructive tension. (...) I will close by outlining the possibility and productivity of this development through hermeneutic reflections inspired by the work of Hans-Georg Gadamer. (shrink)

In this book, internationally recognized scholars in philosophical hermeneutics discuss various aspects of language and linguisticality. The translations of Hans-Georg Gadamer's two recent essays provoke a preliminary discussion on the philosopher's polemic claim in Truth and Method—"Being that can be understood is language." Topics addressed by the contributors include the relationship of rituals to tradition and the immemorial; the unity of the word; conversation; translation and conceptuality; and the interrelationship between the art of writing and linguisticality. This work is (...) of critical importance to anyone interested in Gadamer's claims regarding the boundaries of language, the transition from the prelinguistic to linguistic realms, and the role of rituals in this transition. (shrink)

This chapter reassesses the role of Aristotle in Gadamer’s work. Gadamer is sometimes read as preferential to Plato over Aristotle. Such a reading, however, displaces the centrality of Aristotle to Gadamer’s thought. Gadamer saw Aristotle, and not Plato, as the first phenomenologist. Gadamer consequently expressed a great debt to Aristotle, not only for modeling a phenomenological approach to philosophy, but also for the illuminating phenomenological descriptions that Aristotle gave. Both his philosophical approach and the insights (...) it yielded serve as compelling evidence for Aristotle’s continued relevance for us today. (shrink)

To honor the 50th anniversary of the publication of Truth and Method, this paper discusses the phenomenological foundations of the hermeneutical clatm to an eminent epistemological relevance of art. While Gadamer, following the early Hcidegger, tends to conceive such relevance as the contnbution of art to historical self-understanding, the attempt is made to integrate art into philosophy through a reeximanation of phenomenological method. An interpretation of the London Leerures not only shows the close resemblance of Husserl's later account of (...) phenomenological method as ,the method of zig-zag' to Heidegger's and Gadamer's accounts of understanding. Furthermore, the idea of method being closely tied to the evident experience of things as ,exemplary objects' used as ,transeendental guiding threads' for phenomenology prefigures Heidegger's account of the truth of artworks in 'The Origin of the Work of Art'. In conclusion, I argue that the truth of art can be integrated into phenomenological method by conceiving artworks not as transitory sedimentations of self-understanding but as phenomenological models, which as objects of interpretation allow one to access and explicate the phenomenological givenness of earth and world. (shrink)

In 'Art as Festival', I put Heidegger and Gadamer into dialogue concerning their respective critiques of traditional aesthetics and their more positive views on the work of art. I use the festival theme to examine some of the philosophical issues in Heidegger's and Gadamer's approaches to the work of art. Specifically, I look at the way both figures conceive the work of art as an encounter which, like the festival, involves a transcendence of subjectivity in an encounter with (...) an event - in this case, the artwork - which the individual does not direct, but rather in which they participate. Putting the theme of festival into play also provides a useful critical lever, especially in the way that it raises important issues of community. More specifically, reflecting on the festival celebration raises questions of the nature of this community, of the relation of the community created in the festival event to the community of the everyday, and thus also of the relation of the aesthetic and the political. (shrink)