The Shakespearean image of a tempest and its aftermath forms the beginning as well as a major guiding thread of Logic of Imagination. Moving beyond the horizons of his earlier work, Force of Imagination, John Sallis sets out to unsettle the traditional conception of logic, to mark its limits, and, beyond these limits, to launch another, exorbitant logic—a logic of imagination. Drawing on a vast range of sources, including Plato, Aristotle, Kant, Hegel, Nietzsche, and Freud, as well as developments in (...) modern logic and modern mathematics, Sallis shows how a logic of imagination can disclose the most elemental dimensions of nature and of human existence and how, through dialogue with contemporary astrophysics, it can reopen the project of a philosophical cosmology. (shrink)
"This excellent work... deserves the serious consideration of all who are interested in contemporary philosophy as well as those who concern themselves with ancient philosophy, especially Plato." —Review of Metaphysics In Chorology, John Sallis takes up one of the most enigmatic discourses in the history of philosophy. Plato's discourse on the chora—the chorology—forms the pivotal moment in the Timaeus. The implications of the chorology are momentous and communicate with many of the most decisive issues in contemporary philosophical discussions.
Its power to illuminate the text..., its ecumenicity of inspiration, its methodological rigor, its originality, and its philosophical profundity—all together make it one of the few philosophical interpretations that the philosopher will ...
What is art really about? What is its true sense? For John Sallis, we cannot gain a genuine understanding of art by merely translating its effects into conceptual language. Rather, works of art must be approached in a way that does justice to their sensuous and enigmatic character—that illuminates their capacity to present truth without pretending to dispel the real mystery at art’s core. Transfigurements develops a framework for thinking about art through innovative readings of some of the most important (...) philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in these texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare’s comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations of classic works from both fields, Sallis puts forth a compelling new elaboration of the philosophy of art. (shrink)
Where does philosophy begin, and where does it end? For John Sallis, philosophy’s many starting points all lead back to Plato’s cave, a reminder that no matter how rigorous our thought, we can never quite escape to pure understanding. We remain always on the verge, at the limits of philosophy—but the verge, Sallis argues, is where the most decisive philosophical thinking takes place. The Verge of Philosophy is in one sense a memorial for Sallis’s longtime friend and interlocutor Jacques Derrida. (...) The centerpiece of the book is an extended examination of three sites in Derrida’s thought: his interpretation of Heidegger regarding the privileging of the question, Derrida’s account of the Platonic figure of the good, and his interpretation of Plato’s discourse on the crucial concept of the chora , the originating space of the universe. Sallis’s explorations are given added weight—even poignancy—by his discussion of his many public and private philosophical conversations with Derrida over the decades of their friendship. The Verge of Philosophy thus simultaneously serves to mourn and remember a friend and to push forward the deeply searching discussions that lie at the very heart of that friendship. Rounded out with examinations of the myth of Orpheus and the parameters of a politics of music, Heidegger’s interpretation of Plato, and the question of a new beginning for philosophy, The Verge of Philosophy is a wholly original work by a master thinker and will be essential to all those who treasure philosophical inquiry. (shrink)
"The New Yearbook for Phenomenology and Phenomenological Philosophy Volume VI" includes important contributions by both established and emerging scholars working in the phenomenological tradition, together with first-time English translations of texts and documents whose phenomenological relevance transcends their considerable historical significance.
Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."--Richard Schacht, Times Literary Supplement.
"Everyone complains about what is lost in translations. This is the first account I have seen of the potentially positive impact of translation, that it represents... a genuinely new contribution." —Drew A. Hyland In his original philosophical exploration of translation, John Sallis shows that translating is much more than a matter of transposing one language into another. At the very heart of language, translation is operative throughout human thought and experience. Sallis approaches translation from four directions: from the dream of (...) nontranslation, or universal translatability; through a scene of translation staged by Shakespeare, in which the entire range of senses of translation is played out; through the question of the force of words; and from the representation of untranslatability in painting and music. Drawing on Jakobson, Gadamer, Benjamin, and Derrida, Sallis shows how the classical concept of translation has undergone mutation and deconstruction. (shrink)
Highly recommended." —Choice "This fascinating book by one of the more original voices writing philosophy in English poses questions about the nature of the visible and invisible, sensible and intelligible." —Dennis Schmidt What is it ...
This interpretation directed at certain passages in Plato’s Theaetetus explicates the close relation that the dialogue establishes between memory, thought, and speech. It shows that all of these means contribute to the soul’s capacity to stretch beyond mere perceptions. The interpretation also shows that comedic elements play a major role in the dialogue, most notably, in the well-known passage that purportedly explains knowledge and memory by means of the image of birds flying about in an aviary. Through close examination of (...) the relevant passages, the interpretation shows that the Theaetetus is not aporetic but rather achieves a positive advance that prepares the way for the Sophist. (shrink)
This volume represents the first sustained effort to relate Derrida's work to the Western philosophical tradition from Plato to Heidegger. Bringing together twelve essays by twelve leading Derridean philosophers and an important paper by Derrida previously unpublished in English, the collection retrieves the significance of deconstruction for philosophy.
This essay explores the various ways in which in the history of philosophy the imperative to return to nature has been understood. Against this background, it takes up the question as to how the concept of nature is to be determined in contemporary thought.
O presente artigo trata da questão da tradução, discutindo, em autores como Hegel, Nietzsche, Heidegger e Gadamer, a possibilidade e o sentido da tradução. PALAVRAS-CHAVE – Tradução. Hegel. Nietzsche. Heidegger. Gadamer. ABSTRACT This paper focuses the question of translation, by discussing the possibility and the sense of translation in Hegel, Nietzsche, Heidegger e Gadamer. KEY WORDS – Translation. Hegel. Nietzsche. Heidegger. Gadamer.