The concept of chiasm has played major role in continental philosophy, where it has referred to various phenomenological and hermeneutic structures of reversibility, intertwining, and encounter. In Chiasmatic Encounters: Art, Ethics, Politics, fourteen international contributors representing various fields of expertise analyze this central concept and its significance for contemporary cultural theory. The authors discuss the work of major philosophers like Merleau-Ponty, Beauvoir, Habermas, Levinas, Derrida, and Deleuze, adapting their ideas of chiasmatic relations to cultural analysis. As the internal and external horizons of perception and experience are intertwined and reversed, various cultural texts, like a Vermeer painting, a symphony of Sibelius, a David Lynch movie, or a young girl walking in her summer dress, are seen from new and unexpected angles. The book also addresses the chiasmatic crossing between ethics and politics-- between unconditional ethical responsibility and always conditional political choices. Representing the cutting edge of contemporary cultural theory and interdisciplinary thinking, Chiasmatic Encounters is essential reading for anyone working in continental philosophy, aesthetics, or political theory.

Philosophy, art criticism and popular opinion all seem to treat the aesthetics of the comic as lightweight, while the tragic seems to be regarded with greater seriousness. Why this favouring of sadness over joy? Can it be justified? What are the criteria by which the significance of comedy can be estimated vis A vis tragedy? Questions such as these underlie the present selection of studies, which casts new light on the comic, the joyful and laughter itself. This challenge to the popular attitude strikes into new territory, relating such matters to the profundity with which we enjoy life and its role in the deployment of the Human Condition. In her Introduction Tymieniecka points out that the tragic and the comic might be complementary in their respective sense-bestowing modes as well as in their dynamic functions; they might both share in the primogenital function of promoting the self-individualising progress of human existence. For the first time in philosophy, laughter, mirth, joy and the like are revealed as the modalities of the essential enjoyment of life, being brought to bear in an illumination of the human condition.

This volume is a guide to the legacy of the philosophical work of Jean-Luc Marion. A leading phenomenologist and philosopher of religion, Marion's work addresses questions on the nature and knowledge of God, love, consciousness, art, psychology, and spirituality. Here, leading Marion scholars explain the development of his key concepts, while critically mining the philosopher's ideas for relevant implications and applications to contemporary issues in various fields of study, including philosophy, theology, art, psychology and literature. The first volume to cover Marion's wider corpus, this book opens with an original essay by Marion himself, and goes on to present a comprehensive view of Marion's ideas. Though largely anchored in philosophy, the essays are interdisciplinary and explore the various questions central to Marion's work, including the visibility and invisibility of God, the constitutive force of the horizon of consciousness, the gift and givenness, eroticism and love, art and painting, psychology, literature, memory, iconography, and spirituality.

As neuroscience continues to reveal the biological basis of human thought and behavior, what impact will this have on legal theory and practice? The emerging field of neurolaw seeks to address this question, but doing so adequately requires confronting difficult philosophical issues surrounding the nature of mind, free will, rationality, and responsibility. In The Philosophical Foundations of Neurolaw, Martin Roth claims that the central philosophical issue facing neurolaw is whether we can reconcile the conception of ourselves as free, rational, and responsible agents with the conception of ourselves as complex bio-chemical machines. Roth argues that we can reconcile these conceptions. To show this, Roth develops and defends an account of free will that identifies free will with the capacity to respond to rational demands, and he argues that this capacity is at the foundation of our thinking about responsibility. Roth also shows how the mind sciences can explain this capacity, thus revealing that a purely physical system can have the kind of free will that is relevant to responsible agency. Along the way, Roth critiques a number of arguments that purport to show that the kind of reconciliation provided is not possible. Roth concludes that though we should rethink our legal system in important ways, both in light of his account of free will and what neuroscience is poised to reveal, neuroscience does not threaten the law's core commitment to responsible agency.

At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.

Emotions are among the most fundamental human capacities. They help us to adequately and quickly respond to environmental affordances of all kinds. Being capable of emotional responses we are inextricably attached to our natural and social environment. These tight emotional bonds to the world we inhabit are immediately conspicuous when we find ourselves in the grip of strong feelings like fear, love, hate or disgust. They are also present in all other kinds of emotions, for instance, feelings of awe, compassion or artistic enthusiasm. This volume tracks a variety of emotions in a phenomenological manner. It explores the intertwinement of cognitive content and feeling qualities of different emotions, their varying motivational and expressive qualities, their bodily manifestations, and social and moral implications. This focus on a phenomenology of emotion reveals the rich meaning of emotions that results from their embeddedness in our social and moral life. The authors describe the peculiar character of human emotions from the first- and second-person point of view of those subjects who undergo and regularly share these emotions.

The Sound of Ontology: Music as a Model for Metaphysics explores connections between Western art music in the late 19th and early 20th centuries, and the ideas that dominated philosophy leading up to and during that period. In the process of establishing John Cage as Richard Wagner's heir via Arnold Schoenberg, the author discovers that the old metaphysics of representation is still in charge of how we think about music and about experience in general. Instead of settling for the positivist definition of music as mere sound framed by time, LaFave provides a phenomenology of music that reveals pitch as the ontological counterpart to frequency, and music as a vehicle for understanding how, as Heidegger observed, the Being of "things of value" are invariably grounded in the Being of "things of nature." Numerous musical examples and a poem by Wallace Stevens illustrate LaFave's case that hierarchy is intrinsic to this understanding. Alfred North Whitehead's process philosophy is brought to bear alongside Heidegger's phenomenological ontology to show that not only music, but reality itself, depends on a play of interlocking hierarchies to effect the nature-value connection, making aesthetics first philosophy.

Once a prophet of critical, "other" thought, Heidegger has now for many become the epitome of the unthinkable, in the light of the Black Notebooks controversy. The unthinkable here is anti-Semitism. The encounter between Heidegger and the Jews has thus come to signify - very much in the spirit of Heidegger's own anti-Judaism - the end of thought. The present volume resists this view by positing not only Heidegger but also the Jewish people as representing thought. The encounter between Heidegger and various traditions of Jewish thought is conceived here as a conversation inter alia, an exchange between real or perceived "others": others to the philosophical tradition, to mainstream modernity, to Western Christian metaphysics, to each other, and even to themselves. The conversation takes shape in this volume as a symposium of seventeen essays by leading scholars both of Heidegger's philosophy and of Jewish Studies.

This unique volume collects more than 30 new essays by prominent scholars on what remains philosophically provocative in Heidegger's thought. His writings continue to invite analysis and application - ut, particularly in the light of his political affiliations, they must also be critiqued. Philosophy today takes place after Heidegger in that his views should not be accepted naively, and there are new issues that he did not address - but also in that we continue to think in the wake of important questions that he raised. The contributors to this volume ask questions such as: - What does it mean to think "after" Heidegger? - What is valuable in his early work on finite existence, and in his early and late phenomenology? - What is the root of his political errors? Are there still elements in his thought that can yield helpful political insights? - Should we emulate his turn toward "releasement"? - Can he help us understand the postmodern condition? Readers will find thought-provoking echoes and points of contention among these engaging and lively essays.

Once a prophet of critical, "other" thought, Heidegger has now for many become the epitome of the unthinkable, in the light of the Black Notebooks controversy. The unthinkable here is anti-Semitism. The encounter between Heidegger and the Jews has thus come to signify - very much in the spirit of Heidegger's own anti-Judaism - the end of thought. The present volume resists this view by positing not only Heidegger but also the Jewish people as representing thought. The encounter between Heidegger and various traditions of Jewish thought is conceived here as a conversation inter alia, an exchange between real or perceived "others": others to the philosophical tradition, to mainstream modernity, to Western Christian metaphysics, to each other, and even to themselves. The conversation takes shape in this volume as a symposium of seventeen essays by leading scholars both of Heidegger's philosophy and of Jewish Studies.

This unique volume collects more than 30 new essays by prominent scholars on what remains philosophically provocative in Heidegger's thought. His writings continue to invite analysis and application - ut, particularly in the light of his political affiliations, they must also be critiqued. Philosophy today takes place after Heidegger in that his views should not be accepted naively, and there are new issues that he did not address - but also in that we continue to think in the wake of important questions that he raised. The contributors to this volume ask questions such as: - What does it mean to think "after" Heidegger? - What is valuable in his early work on finite existence, and in his early and late phenomenology? - What is the root of his political errors? Are there still elements in his thought that can yield helpful political insights? - Should we emulate his turn toward "releasement"? - Can he help us understand the postmodern condition? Readers will find thought-provoking echoes and points of contention among these engaging and lively essays.

This book addresses the 'perennial' question of the meaning of life from the point of view of a novel interpretation of Aristotle's teleology. Beginning with the premise that at the core of modernity and modern moral imagination are the entropy of meaning and the sense of meaninglessness, the author critically engages with the work of the post-war existentialists, chiefly that of Albert Camus and Martin Heidegger, to argue that their analyses are unconvincing and that the question of the meaning of being should therefore be approached using different assumptions, based on the notion of flourishing life. From this Aristotelian outlook, Existence, Meaning, Excellence employs Alasdair MacIntyre's critique of modernity, together with his conceptions of practice and the narrative unity of life and tradition to provide a novel philosophical account of existence, meaning and excellence - an account which is used to contribute to debates (between Kantian and Nietzschean perspectives) on the nature of art and genius, with Mozart's genius being used by way of illustration. A fascinating and powerfully argued engagement with existentialist thought that draws on the 'virtue' tradition to explore questions of meaning, as well as wider questions within philosophy, this book will appeal to philosophers and social theorists with interests in existentialism, moral philosophy and accounts of 'the good' based on the notions of human flourishing.

Inheritance and Originality is an innovative study of Wittgenstein, Heidegger, and Kierkegaard which argues that they find themselves unable simply to inherit the prevailing conventions definitive of philosophy. By placing these conventions in question, they reconceive the form of philosophical writing, and of philosophy itself, together with prevailing notions of language, scepticism, morality, and the self; and in so doing, they confront certain fundamentally theological preoccupations.

This book is a phenomenological approach to film sound and film as a whole, bringing all sensory impressions together within the body as a sense of movement. This includes embodied listening, felt sound and the audiovisual chord as a dynamic knot of visual and auditory movements. From this perspective, auditory spaces in film can be used as a pivot between an inner and an external world.

John T. Lysaker works between and weaves together questions and replies in philosophical psychology, Emerson studies, and ethics in this book of deep existential questioning. Each essay in this atypical, philosophical book employs recurring terms, phrases, and questions that characterize our contemporary age. Setting out from the idea of where we are in an almost literal sense, Lysaker takes readers on an intellectual journey into thematic concerns and commitments of broad interest, such as the nature of self and self-experience, ethical life, poetry and philosophy, and history and race. In the manner of Emerson, Cavell, and Rorty, Lysaker's vibrant writing is certain to have a transformative effect on American philosophy today.

The book records the author's personal and intellectual maturation over a period of nine decades. This maturation was never purely self-propelled, but always occurred in response to teachings and experiences. Situated as a "being-in-the-world", the author's experiences reach from World War II via the Cold War to recent "terror wars." Intellectually, he participated in and reacted to a number of major perspectives: from phenomenology, existentialism, and critical theory to hermeneutics, postmodernism, and post-secularism. Exchanges with multiples interlocutors helped to shape his distinctive outlook or profile; which privileges self-other contacts over the ego, dialogue over monologue, and dialogical cosmopolitanism over chauvinistic power politics. Implicit in this emerging profile is a preference for potentiality over actuality and of relationality over static identity. Shunning doctrinal formulas or finished "systems", the author's life thus is shown to be simply a journey, an adventure to what comes, an itinerary (mentis in Deum).

Phenomenology of Film: A Heideggerian Account of the Film Experience uses the philosophy of Martin Heidegger as a framework for addressing key issues in the philosophy of film. This study grapples with the question of how we can reconcile film as a popular entertainment medium with Heidegger's own various critiques of popular media and culture throughout his career. Shawn Loht also explores topics such as the ontology of film and moving images; the phenomenological character of the viewer experience; film conceived as an art medium; and the function of films as vehicles for philosophical thought. He further discusses important concepts from Heidegger's philosophy--Dasein, existentiality, world, art and poetry, and the nature of philosophy. The first four chapters take up these issues from a theoretical perspective. The remaining chapters provide robust application of the theoretical material to the films of three contemporary filmmakers: Terrence Malick, Michael Haneke, and David Gordon Green. As the first single-author monograph that takes up Heidegger's relevance to film, Phenomenology of Film will be of particular interest to philosophers of film and specialists of film and media studies working in the intersection of phenomenology and film or phenomenological approaches to issues in popular culture.

Recent discussions around limit-problems, namely the questions concerning what can appear in phenomenological reflection, as well as what phenomenology as philosophical reflection can handle, call for a concerted treatment of the problem of limit-phenomena. In this important new book, Anthony J. Steinbock, a leading voice in contemporary phenomenology, explores that question in the context of an interrelated series of problems in Husserl's phenomenology. Representing a continued struggle with these insights and problems, the first section sketches out the problem of limit-phenomena, and addresses generally that rich estuary of liminal experience that commanded Husserl's attention in his research manuscripts. The book goes on to offer a correlative reflection on the issue of method and finally explores a specific set of what have been called recently "limit-problems" within phenomenology, relating to the problem of individuation and on a more personal level, vocation. This rich and timely volume offers an excellent demonstration of phenomenology in practice.

Arguing for the compatibility of phenomenology and naturalism, this book also refashions each. The opening chapters begin with a methodological focus, which seeks to curb the "over-bidding" characteristic of both traditional transcendental phenomenology and scientific naturalism. Having thus opened up the possibility that the twain might meet, it is in the detailed chapters on matters where scientific and phenomenological work overlap and sometimes conflict - on time, body, and others - that the book contests some of the standard ways of understanding the relationship between phenomenological philosophy and empirical science, and between phenomenology and naturalism. Without invoking a methodological move of quarantine, in which each is allocated to their proper and separate domains, the book outlines the significance of the first-person perspective characteristic of phenomenology - both epistemically and ontologically - while according due respect to the relevant empirical sciences. The book thus renews phenomenology and argues for its ongoing relevance and importance for the future of philosophy.

A richly complex study of the Yogacara tradition of Buddhism, divided into five parts: the first on Buddhism and phenomenology, the second on the four basic models of Indian Buddhist thought, the third on karma, meditation and epistemology, the fourth on the Trimsika and its translations, and finally the fifth on the Ch'eng Wei-shih Lun and Yogacara in China.

Ironically, the philosophy of love has long been neglected by philosophers, so-called "lovers of wisdom," who would seemingly need to understand how one best becomes a lover. In Kierkegaard and the Philosophy of Love, Michael Strawser shows that the philosophy of love lies at the heart of Kierkegaard's writings, as he argues that the central issue of Kierkegaard's authorship can and should be understood more broadly as the task of becoming a lover. Strawser starts by identifying the questions (How should I love the other? Is self-love possible? How can I love God?) and themes (love's immediacy, intentionality, unity, and eternity) that are central to the philosophy of love, and he develops a rich context that includes analyses of the conceptions of love found in Plato, Spinoza, and Hegel, as well as prominent contemporary thinkers. Strawser provides an original and wide-ranging analysis of Kierkegaard's writings-from the early The Concept of Irony and Edifying Discourses to the late The Moment, while maintaining the prominence of Works of Love- to demonstrate how Kierkegaard's writings on love are relevant to the emerging study of the philosophy of love today. The most unique perspective of this work, however, is Strawser's argument that Kierkegaard's writings on love are most fruitfully understood within the context of a phenomenology of love. In interpreting Kierkegaard as a phenomenologist of love, Strawser claims that it is not Husserl and Heidegger that we should look to for a connection in the first instance, but rather Max Scheler, Dietrich von Hildebrand, Emmanuel Levinas, and most importantly, Jean-Luc Marion, who for the most part center their thinking on the phenomenological nature of love. Based on an analysis of the works of these thinkers together with Kierkegaard's writings, Strawser argues that Kierkegaard presents readers with a first phenomenology of love, a point of view that serves as a unifying perspective throughout this work while also pointing to areas for future scholarship. Overall, this work brings seemingly divergent perspectives into a unity brought about through a focus on love-which is, after all, a unifying force.

This study explores the increasingly troubled relationship between humankind and the Earth, with the help of a simple example and a complicated interlocutor. The example is a pond, which, it turns out, is not so simple as it seems. The interlocutor is Jean-Paul Sartre, novelist, playwright, biographer, philosopher, and, despite his several disavowals, doyen of twentieth-century existentialism. Standing with the great humanist at the edge of the pond, the author examines contemporary experience in the light of several familiar conceptual pairs: nature and culture, fact and value, reality and imagination, human and nonhuman, society and ecology, Earth and world. The theoretical challenge is to reveal the critical complementarity and experiential unity of this family of ideas. The practical task is to discern the heuristic implications of this lived unity-in-diversity in these times of social and ecological crisis. Interdisciplinary in its aspirations, the study draws upon recent developments in biology and ecology, complexity science and systems theory, ecological and Marxist economics, and environmental history. Comprehensive in its engagement of Sartre's oeuvre, the study builds upon his best-known existentialist writings, and also his critique of colonialism, voluminous ethical writings, early studies of the imaginary, and mature dialectical philosophy. In addition to overviews of Sartre's distinctive inflections of phenomenology and dialectics and his unique theories of praxis and imagination, the study also articulates for the first time Sartre's incipient philosophical ecology. In keeping with Sartre's lifelong commitment to freedom and liberation, the study concludes with a programmatic look at the relative merits of pragmatist, prefigurative, and revolutionary activism within the burgeoning global struggle for social and ecological justice. We learn much by thinking with Sartre at the water's edge: surprising lessons about our changing humanity and how we have come to where we are; timely lessons about the shifting relation between us and the broader community of life to which we belong; difficult lessons about our brutal degradation of the planetary system upon which life depends; and auspicious lessons, too, about a participatory path forward as we work to preserve a habitable planet and build a livable world for all earthlings.

Heidegger's influence in the twentieth century probably outstrips that of any other philosopher, at least in the so-called Continental tradition. The 'revolution' Heidegger brought about with his compelling readings of the broader philosophical tradition transformed German philosophy and spread quickly to most of Europe, the United States and Japan. This volume examines Heidegger's influence in a region where his reception has had a remarkable and largely hidden history: Eastern Europe and Russia. The book begins by addressing two important literary influences on Heidegger: Dostoevsky and Tolstoy. It goes on to examine Heidegger's philosophical influence, and features three crucial figures in the reception of Heidegger's thought in Eastern Europe and Russia: Vladimir Bibikhin, Krzysztof Michalski, and Jan Patocka. Finally the volume deals with an often vexed issue in current treatments of Heidegger: the importance of Heidegger's philosophy for politics. The book includes essays by an international team of contributors, including leading representatives of Heideggerian thought in Russia today. Heidegger's thought plays a key role in debates over Russian identity and the geopolitical role Russia has to play in the world. The volume surveys the complicated landscape of post-Soviet philosophy, and how the rise of widely differing appropriations of Heidegger exploit familiar fault lines in the Russian reception of Western thinkers that date back to the first stirrings of a distinctively Russian philosophical tradition.

Since his notorious 1961 lecture, 'Trying to Understand Endgame', Theodor W. Adorno's name has been frequently coupled with that of Samuel Beckett. This book offers a radical reappraisal of the intellectual affinities between these two figures, whose paths crossed all too fleetingly. Specifically the book argues for a preoccupation with the concept of freedom in Beckett's works - one which situates him as a profoundly radical and even political writer. Adorno's own more explicit reconceptualization of freedom and its scarcity in modernity offers a unique lens through which to examine the way Beckett's works preserve a minimal space of freedom that acts in opposition to an unfree social totality. While acknowledging both the biographical encounters between Adorno and Beckett and the influence Beckett's writings had on Adorno's aesthetics, Natalie Leeder goes further to establish a dialogue between their intellectual positions, working with a range of texts from both writers and seeking insight in Adorno's less familiar works, as well as his magnum opera, Aesthetic Theory and Negative Dialectics.

The Habits of Racism examines some of the complex questions raised by the phenomenon and experience of racism. Helen Ngo draws on the resources of Merleau-Ponty to show how the conceptual reworking of habit as bodily orientation helps to identify the subtle but more fundamental workings of racism--to catch its insidious, gestural expressions, as well as its habitual modes of racialized perception. Racism, as Ngo argues, is equally expressed through bodily habits, which, once reformulated, raises important ethical questions regarding the responsibility for one's racist habits. Ngo then/also considers what the lived experience of racism and racialization teaches us about the nature of embodied and socially-situated being, arguing that racialized embodiment problematizes and extends existing accounts of embodied experience, and calls into question dominant philosophical paradigms of the "self" as coherent, fluid, and synchronous. Drawing on thinkers such as Fanon, she argues that the racialized body is "in front of itself" and "uncanny" (in the Heideggerian senses of "strange" and "not-at-home"), while exploring the phenomenological and existential implications of this disorientation and displacement. Finally, she returns to the visual register to take up the question of objectification in the racist gaze, critically examining the subject-object ontology presupposed by Sartre's account of "the gaze" (le regard). Recalling that all embodied being is always already relational and co-constituting, Ngo draws on Merleau-Ponty's concept of the intertwining to argue that a phenomenology of racialized embodiment reveals to us the ontological violence of racism-not a merely violation of one's subjectivity as commonly claimed, but also a violation of one's intersubjectivity. The original arguments in The Habits of Racism will be of particular value to students and scholars interested in critical philosophy of race, phenomenology, and social and political philosophy, and may also be of interest to those working in feminist philosophy, queer studies, and disability studies.