SUNY series, Intersections: Philosophy and Critical Theory

Shows how contemporary French philosophy adopted this literary paradigm and argues for its significance for addressing concerns in ethics, ontology, and aesthetics. Mise en abyme is a term developed from literary theory denoting a work that doubles itself within itself-a story placed within a story or a play within a play. The term flourished in experimental fiction in midcentury France, having not only a strong impact on contemporary literary theory but also on post-structuralist philosophy. The Little Crystalline Seed focuses on how thinkers invoke the concept of mise en abyme in order to establish ontologies that deviate from that of Heidegger. Iddo Dickmann demonstrates how the concept served in modeling Jacques Derrida's logic of supplementarity; Maurice Blanchot's mechanism of désouvrement; Gilles Deleuze's philosophy of repetition; Emmanuel Levinas's concept of "proximity," and in further circuit: the philosophies of Bergson, Kant, Leibniz, Heidegger himself, and more. Exploring the interpretative and generative potential of the mise en abyme for continental thought, Dickmann reveals new points of resonance between various philosophical topics including, aesthetics, ethics, time, logic, mirroring, play, and signification.

Proposes "the extraordinary" as a defining characteristic of modernity. Translated from the Spanish De lo extraordinario: Nominalismo y Modernidad, this book argues that a defining aspect of modernity is an ever-increasing pursuit of, and need for, what Eduardo Sabrovsky calls "the extraordinary," a term that encompasses both the exception and the miraculous. Sabrovsky shows the degree to which Robert Musil's novel The Man without Qualities functions as a paradoxical paradigm of the extraordinary, and he extends the theoretical insights drawn from Musil's magisterial work through a series of inquiries into cardinal elements of modern literature, material culture, historiography, physical science, psychoanalysis, and political theory. Sabrovsky demonstrates how the extraordinary condition of modernity emerges from the debates conducted by the last representatives of medieval scholasticism in which nominalism defeated realism, and he resituates the results of this triumph of nominalism in the writings of Friedrich Nietzsche, Theodor Adorno, Walter Benjamin, and Georges Bataille, among others.

A rich intellectual encounter, revolving around the hands of the experimenter and those of the artist, highlighting the relation between the sciences and the arts. This book is the first to explore in detail the encounter between Albert Flocon and Gaston Bachelard in postwar Paris. Bachelard was a philosopher and historian of science who was also involved in literary studies and poetics. Flocon was a student of the Bauhaus in Dessau, Germany, who specialized in copper engraving. Both deeply ingrained in the surrealist avant-garde movements, each acted at the frontiers of their respective métiers in exploring uncharted territory. Bachelard experienced the sciences of his time as constantly undergoing radical changes, and he wanted to create a historical epistemology that would live up to this experience. He saw the elementary gesture of the copper engraver-the hand of the engraver-as meeting the challenge of resistant and resilient matter in an exemplary fashion. Flocon was fascinated by Bachelard's unconventional approach to the sciences and his poetics. Together, their relationship interrogated and celebrated the interplay of hand and matter as it occurs in poetic writing, in the art of engraving, and in scientific experimentation. In the form of a double biography, Hans-Jörg Rheinberger succeeds in writing a lucid intellectual history and at the same time presents a fascinating illustrated reading of Flocon's copper engravings. Hans-Jörg Rheinberger is Director Emeritus at the Max Planck Institute for the History of Science, Germany. Kate Sturge is a translator and editor based in Berlin, Germany, and Visiting Senior Lecturer in Translation Studies at Aston University, United Kingdom.

Probing study of how literature can redeem the revelatory, redemptive powers of language. In this probing look at Alfred Döblin's 1929 novel Berlin Alexanderplatz and the stories of W. G. Sebald, Redeeming Words offers a philosophical meditation on the power of language in literature. David Kleinberg-Levin draws on the critical theory of Benjamin and Adorno; the idealism and romanticism of Kant, Hegel, Hölderlin, Novalis, and Schelling; and the nineteenth- and twentieth-century thought of Nietzsche, Heidegger, and Derrida. He shows how Döblin and Sebald-writers with radically different styles working in different historical moments-have in common a struggle against forces of negativity and an aim to bring about in response a certain redemption of language. Kleinberg-Levin considers the fast-paced, staccato, and hard-cut sentences of Döblin and the ghostly, languorous, and melancholy prose fiction of Sebald to articulate how both writers use language in an attempt to recover and convey this utopian promise of happiness for life in a time of mourning.

From Technological Humanity to Bio-technical Existence can be framed as a metaphysics of the present. It starts from the current epoch, an era increasingly marked not only by technology but also by technics in the most general sense, and asks how this affects human existence. The book asks what is called technics, what is called humanity, how these relate to one another, and how changes in these notions oblige us to revise the philosophical notion of existence. It investigates how the idea of technological humanity-of technology as an extension and instrument of the human-is discovered and deconstructed by Martin Heidegger, Helmuth Plessner, Michel Foucault, Jacques Derrida, Bernard Stiegler, and Giorgio Agamben. Finally, the book presents a new idea of bio-technical existence, one that underlies these philosophers' works without being fully elaborated. This idea-of technics as a condition of humanity that humans share with other living and technical beings-is the author's own philosophical proposition and the final result of the book.

Proposes a theoretically rich treatment of temporality within exile as "gerundive" time. This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as a "gerundive" mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To explore this, she establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile, but presents a conversation with them in relation to this question that reflects new aspects in their work. Attempting to think and express this difficult sense of time from within exile, Time in Exile engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, Sá Cavalcante Schuback reveals new philosophical and theoretical modes to understand what it means to be present in times of exile.

A study of Lacan's engagement with the Western philosophical traditions of ethical and political thought in his seventh seminar and later work. With its privileging of the unconscious, Jacques Lacan's psychoanalytic thought would seem to be at odds with the goals and methods of philosophy. Lacan himself embraced the term "anti-philosophy" in characterizing his work, and yet his seminars undeniably evince rich engagement with the Western philosophical tradition. These essays explore how Lacan's work challenges and builds on this tradition of ethical and political thought, connecting his "ethics of psychoanalysis" to both the classical Greek tradition of Socrates, Plato, and Aristotle, and to the Enlightenment tradition of Kant, Hegel, and de Sade. Charles Freeland shows how Lacan critically addressed some of the key ethical concerns of those traditions: the pursuit of truth and the ethical good, the ideals of self-knowledge and the care of the soul, and the relation of moral law to the tragic dimensions of death and desire. Rather than sustaining the characterization of Lacan's work as "anti-philosophical," these essays identify a resonance capable of enriching philosophy by opening it to wider and evermore challenging perspectives. Charles Freeland is Lecturer and Course Coordinator, teaching philosophy and architecture at the International Program of Design and Architecture at Chulalongkorn University in Bangkok, Thailand.

Traces a conceptual history of critique in German philosophy from the eighteenth century to the present. Critique has been a central theme in the German philosophical tradition since the eighteenth century. The main goal of this book is to provide a history of this concept from its Kantian inception to contemporary critical theory. Focusing on both canonical and previously overlooked texts and thinkers, the contributors bring to light alternative conceptions of critique within nineteenth- and twentieth-century German philosophy, which have profound implications for contemporary philosophy. By offering a critical revision of the history of modern European philosophy, this book raises new questions about what it means for philosophy to be "critical" today.

A fascinating comparison of the work of Heinrich von Kleist and Herman Melville. Figures of Simplicity explores a unique constellation of figures from philosophy and literature-Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten-in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of "simpletons" that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of thinking; one that author Birgit Mara Kaiser here suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue, she argues, a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account.

Examines the relationship of Derrida's writings on architecture to his methodology of deconstruction and to deconstrutivism in architecture. Between 1984 and 1994, Jacques Derrida wrote and spoke a great deal about architecture both in his academic work and in connection with a number of particular building projects around the world. He engaged significantly with the work of architects such as Bernard Tschumi, Peter Eisenman, and Daniel Libeskind. Derrida conceived of architecture as an example of the kind of multidimensional writing that he had theorized in Of Grammatology, identifying a rich common ground between architecture and philosophy in relation to ideas about political community and the concept of dwelling. In this book, Francesco Vitale analyzes Derrida's writings and demonstrates how Derrida's work on this topic provides a richer understanding of his approach to deconstruction, highlighting the connections and differences between philosophical deconstruction and architectural deconstructivism.

A critical account of the key connections between twentieth-century French philosopher Gilles Deleuze and nineteenth-century German idealist G. W. F. Hegel. Hegel, Deleuze, and the Critique of Representation provides a critical account of the key connections between twentieth-century French philosopher Gilles Deleuze and nineteenth-century German idealist G. W. F. Hegel. While Hegel has been recognized as one of the key targets of Deleuze's philosophical writing, Henry Somers-Hall shows how Deleuze's antipathy to Hegel has its roots in a problem the two thinkers both try to address: getting beyond a philosophy of judgment and the restrictions of Kant's transcendental idealism. By tracing the development of their attempts to address this problem, Somers-Hall offers an interpretation of the sweep of nineteenth- and twentieth-century philosophy, providing a series of analyses of key moments in the history of thought, including the logics of Aristotle and Russell, Kant's own philosophy of judgment, and the philosophy of Bergson. He also develops a novel interpretation of Deleuze's philosophy of difference, and situates his philosophy in relation to the broader post-Kantian tradition. In addition to Deleuze's relation to Hegel, the book makes important contributions to the study of Deleuze's philosophy of mathematics, as well as to the study of several underappreciated areas of Hegel's own philosophy.

A study of novelty through analyses of the language of announcement in revolutionary texts. Walter Benjamin claimed that the notion of novelty took on unprecedented importance with the growth of high capitalism in the nineteenth century. In this book, Kristina Mendicino analyzes a selection of canonical texts that reflect profound concern with novelty and its apparent contrary, the eternal return of the same, including Nietzsche's Thus Spoke Zarathustra, Baudelaire's lyric and prose poetry, and Marx and Engels's Communist Manifesto. She also addresses Eternity by the Stars by Louis-Auguste Blanqui, who is less well known and often underestimated in considerations of his significance for revolutionary political theory. Mendicino argues that the notion of a novum cannot be understood without attentiveness to the language of announcement, not least of all because the "new" has always been associated with a particular mode of linguistic performance. Through close readings of emphatically annunciatory texts, she demonstrates how the extreme possibilities of expression that they present through specific citational and rhetorical praxes render the language of announcement overdetermined and anachronistic in ways that exceed any systematic account of historical time and experience. This excess in and through language is precisely what opens hitherto unheard of alternatives for conceiving of historical temporality and political possibility.

An unprecedented reading of Hegel's Logic that sets this difficult work in a dialogue with literary texts. In this book, Angelica Nuzzo proposes a reading of Hegel's Logic as "logic of transformation" and "logic of action," and supports this thesis by looking to works of literature and history as exemplary of Hegel's argument and method. By examining Melville's Billy Budd, Molière's Tartuffe, Beckett's Endgame, Elizabeth Bishop's and Giacomo Leopardi's late poetry along with Thucydides' History in this way, Nuzzo finds an unprecedented and productive way to render Hegel's Logic alive and engaging. She argues that Melville's Billy Budd is the most successful embodiment of the abstract movement of thinking presented in Hegel's Logic, connecting Billy Budd's stutter to the puzzlingly inarticulate beginning of Hegel's Logic, "Being, pure Being," identical with "Nothing," and argues that the Logic serves as an especially appropriate tool for understanding the sudden violent action that strikes Claggart dead. Through these and other readings, Nuzzo finds a fresh way to address interpretive issues that have remained unresolved for almost two centuries in Hegel scholarship, and also presents well-known works of literature in an entirely new light. This account of Hegel's Logic is framed by the need for an interpretive tool able to orient our understanding of the contemporary world as mired in an unprecedented global crisis. How can the story of our historical present-the tragedy or the comedy we all play parts in-be told? What is the inner logic of our changing world?