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In The Transcendence of the World, Richard Holmes brings together some of the major figures in the phenomenological movement to help explain our experience of the world—the world meant as independent of any particular awareness of it. Focussing on the writings of Edmund Husserl, Martin Heidegger, and Jean-Paul Sartre, Holmes delivers an accessible and coherent account of both the method and results of phenomenological analysis. He offers a critical appraisal of the works of these great thinkers and presents his own radical analyses in order to make sense of our experience of the world, and also the theory of quantum mechanics that purports to describe this world. This book will be an important resource for students and scholars of philosophy and for all those interested in twentieth-century continental ideas.

Throughout his career, Martin Heidegger read and reinterpreted his own writings. This was part of the entirely self-critical orientation of the journey in the landscape of thought. On My Own Publications is the first English-language translation of volume 82 of Heidegger's Complete Works . Started a decade after Being and Time (1927), much of this volume presents running commentary, interpretations, and insights of many of Heidegger's fundamental works, illuminating the philosopher's notes and personal thoughts on his own works and offering a rare look inside the mind of an influential thinker. Focusing on several works including What Is Metaphysics? (1929), The Origin of the Work of Art (1935-36), and The Letter on Humanism (1946), On My Own Publications presents Heidegger reading, interpreting, and confronting some of his own most important and influential publications.

Centers on the ethics of Emmanuel Levinas, aiming to understand this important thinker on his own terms. To read Levinas in a Levinasian way means to understand this important thinker on his own terms, thinking \"ethics as first philosophy,\" without reducing his role to that of a contributor to some other discourse, such as phenomenology, deconstruction, or religious traditions other than his own. This volume offers a variety of interventions into how the priority of the ethical-as formulated by Emmanuel Levinas and seconded by Richard A. Cohen, one of his preeminent interpreters-reorients philosophy to its own questioning-indeed, to its very sense of itself as meaningful. In the decades since Levinas first emerged as a profound and critical voice, many have used his thought to illuminate a broad range of philosophical questions. Often this has occurred in ways that have deemphasized or altered what is arguably Levinas's most radical gesture: reframing philosophy, indeed reframing the meaning of meaning, via an ethical turn. To this end, the essays in this volume, drawing especially on Cohen's reading of Levinas, offer insights into how appropriations and assessments of his philosophy might become more in line with the urgency and full meaning of his notion of the ethical. Whether discussing ethics, aesthetics, politics, or Jewish thought, when taken together, they enhance our comprehension of ethics and Levinas's philosophy of responsibility.

In France today, philosophy--phenomenology in particular--finds itself in a paradoxical relation to theology. Some debate a \"theological turn.\" Others disavow theological arguments as if such arguments would tarnish their philosophical integrity, while nevertheless carrying out theology in other venues. In Crossing the Rubicon, Emmanuel Falque seeks to end this face-off. Convinced that \"the more one theologizes, the better one philosophizes,\" he proposes a counterblow by theology against phenomenology. Instead of another philosophy of \"the threshold\" or \"the leap\"--and through a retrospective and forward-looking examination of his own method--he argues that an encounter between the two disciplines will reveal their mutual fruitfulness and their true distinctive borders. Falque shows that he has made the crossing between philosophy and theology and back again with audacity and perhaps a little recklessness, knowing full well that no one thinks without exposing himself to risk.

When it comes to understanding the ontology of individual existence—that is, the everyday behaviors that we all perform and hardly ever think about—the voice has a particularly complicated status. Together with writing, voice is the medium expressing ideas that, broadly speaking, we have previously formed in our minds. At the same time, voices trigger vague images and associations that do not have determinate forms. Writing in both a personal and philosophical register, Hans Ulrich Gumbrecht explores the complexity of the voice as an understudied philosophical, social, and existential phenomenon. He starts out with a focus on its core intellectual problem as \"the knot of the voice\" —referring to the inseparable proximity between meanings, images, and the physical perceptions on which they depend. In conversation with Nietzsche, Husserl, Heidegger, Derrida, Lyotard, Luhmann, and above all Roland Barthes, Gumbrecht addresses topics that range from the social functions of the voice to its status in different historical contexts, and to the ways in which the perception of voices animates imagination. Throughout, incisive analyses of moments such as Julius Caesar's purportedly high-pitched voice, the surprisingly fragile authority of God's voice in the Torah and in the Gospel, and Gumbrecht's own personal attachment to the voices of popular singers such as Edith Piaf, Elvis Presley, and Adele, create a portrait of the voice that is both philosophically challenging and entertaining to read.

This book explores Hegel's response to the French Revolutionary Terror and its impact on Germany. Like many of his contemporaries, Hegel was struck by the seeming parallel between the political upheaval in France and the upheaval in German philosophy inaugurated by the Protestant Reformation and brought to a climax by German Idealism. Many thinkers reasoned that a political revolution would be unnecessary in Germany, because this intellectual \"revolution\" had preempted it. Having already been through its own cataclysm, Germany would be able to extract the energy of the Revolution and channel its radicalism into thought. Hegel comes close to making such an argument too. But he also offers a powerful analysis of how this kind of secondhand history gets generated in the first place, and shows what is stake. This is what makes him uniquely interesting among his contemporaries: he demonstrates how a fantasy can be simultaneously deconstructed and enjoyed. Mourning Sickness provides a new reading of Hegel in the light of contemporary theories of historical trauma. It explores the ways in which major historical events are experienced vicariously, and the fantasies we use to make sense of them. Comay brings Hegel into relation with the most burning contemporary discussions around catastrophe, witness, memory, and the role of culture in shaping political experience.

Lambert Wiesing’s The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing uses phenomenology to advocate a change in current thinking. His original approach presents human perception, not as product of a subject, but as the main subject, revealing how perception enables us to identify ourselves within the world. While traditional approaches look at the conditions necessary for us to perceive, Weising asks and examines the consequences of perception: corporeality, visibility and public participation. These effects are described in phenomenological terms, providing a new and lucid description of the mental state of perceiving. Weisling’s methods represent a significant shift in perception theory, offering a comprehensive survey of the philosophy of images and enriching contemporary debates about the current state of perception theory. His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world.

As a work of musical theory, or meta-theory, Music's Making draws extensively on work done in philosophy and literary criticism in addition to the scholarship of musicologists and music theorists. Music's Making is divided into two large parts. The first half develops global attitudes toward music: emergence out of self and hearing through (drawing on Kabbalah and other sources), middle-voice (as discussed in philosophical phenomenology), liminal space (as discussed in literary theory), an ethics of intersubjectivity (drawing on Levinas), and character, canon, and metaleptic transformations (drawing chiefly on Harold Bloom). The second half embodies a search for metaphors, figurative language toward understanding music's endlessly variegated shaping of time-space. The musicians and scholars who inform this part of the book include Pierre Boulez, Gilles Deleuze, Anton Webern, Morton Feldman, and James Dillon. The book closes with an extended inquiry into the metaphors of horizontal and vertical experience and the spiritual qualities of musical experience expressed through those metaphors.

First published in 1945, Maurice Merleau-Ponty's monumental Phénoménologie de la perception signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. Phenomenology of Perception stands in the great phenomenological tradition of Husserl, Heidegger, and Sartre. Yet Merleau-Ponty's contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and \"intellectualism\" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one's situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty's discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator's Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty's references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty by Claude Lefort. Translated by Donald A. Landes.