The inner word in Gadamer's hermeneutics refers to the meaning that
exceeds anything explicitly said. This explanation has been
subsumed within metaphysical and theological parameters of
interpretation with little regard for the implication of Gadamer's
turn to the living language for understanding the inner word.
Through examining his phenomenology of the inner word, The Inner
Voice in Gadamer's Hermeneutics reveals its musical (rhythmic and
tonal) dimensions and how they function to harmonize disparate
orientations in the middle voice, above all for Gadamer, those that
underlie modes of cognition in both the humanities and the
sciences-a visual and auditory ethos. However, understood as
constituting the music of language discernible in the middle voice,
the inner word is also suppressed or forgotten by the technological
extension of sight-that is, print-and thus requires a turn of the
inner ear or auditory disposition. Andrew Fuyarchuk assesses
theories of language in evolutionary and cognitive science in light
of Gadamer's insights into the nature of thought, and he employs
them to account for a dimension of language that is inscribed in
the lingual minds of our species. When recalled by the inner ear,
this dimension enables us to think such opposites together as we
find in the humanities and sciences together. This thinking
together is expressed in a double account of an object of inquiry,
such as the one Fuyarchuk puts forward about the inner word in
Gadamer's philosophical hermeneutics.
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