Pub Date : 2021-12-23DOI: 10.1163/24683949-12340101
G. Cipriani
{"title":"Editorial: French Thought in Dialogue","authors":"G. Cipriani","doi":"10.1163/24683949-12340101","DOIUrl":"https://doi.org/10.1163/24683949-12340101","url":null,"abstract":"","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114810937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/24683949-12340106
Joshua M. Hall
Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry’s innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in the interview, as follows: (1) the interview as such, with Jean-Marie Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Friedrich Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity.
{"title":"Trans-Religious Dancing Dialogues: Michel Henry on Dionysus and the Crucified","authors":"Joshua M. Hall","doi":"10.1163/24683949-12340106","DOIUrl":"https://doi.org/10.1163/24683949-12340106","url":null,"abstract":"Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry’s innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in the interview, as follows: (1) the interview as such, with Jean-Marie Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Friedrich Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity.","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122269304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/24683949-12340103
W. van Binsbergen
In 2012 social scientists, philosophers and religious scientists celebrated the centennial of the publication of one of the most seminal books in the modern study of religion, Les formes élémentaires de la vie religieuse, by the then leading French sociologist Emile Durkheim’s (1858–1917); in 2017, we commemorated that author’s untimely death at age 59, broken by World War I in which he lost his only son and many of his beloved students. Educated, first as a Rabinnical student then as a modern philosopher, Durkheim earned his place among French thinkers primarily as a “founding father” of the social sciences. Having recently (on the basis of a life-long preoccupation) devoted a book-length study to Durkheim’s religion theory, I intend in this essay to highlight major aspects of Durkheim as an exponent of French thought. I shall first briefly situate Durkheim in his time and age, with special emphasis on his political views and his ethnic identity as a secularised Jew. Then I turn to Durkheim’s relation with the discipline in which he was originally trained, philosophy. I shall pay attention to the complex relationship between Durkheim and Kant and further highlight his dualism, epistemology, and views on primitive classification, as well as his puzzling realism, the place of emergence in his thought, and his moralist tendencies. I shall finally articulate Durkheim’s transition to sociology and how he gave over the torch of emerging sociology to his main students, having thus created an adequate context in which to discuss Durkheim’s final masterpiece (Les formes) and the still dominant theory of religion it expounds.
{"title":"A Century of Dialogue around Durkheim as a Founding Father of the Social Sciences","authors":"W. van Binsbergen","doi":"10.1163/24683949-12340103","DOIUrl":"https://doi.org/10.1163/24683949-12340103","url":null,"abstract":"\u0000In 2012 social scientists, philosophers and religious scientists celebrated the centennial of the publication of one of the most seminal books in the modern study of religion, Les formes élémentaires de la vie religieuse, by the then leading French sociologist Emile Durkheim’s (1858–1917); in 2017, we commemorated that author’s untimely death at age 59, broken by World War I in which he lost his only son and many of his beloved students. Educated, first as a Rabinnical student then as a modern philosopher, Durkheim earned his place among French thinkers primarily as a “founding father” of the social sciences. Having recently (on the basis of a life-long preoccupation) devoted a book-length study to Durkheim’s religion theory, I intend in this essay to highlight major aspects of Durkheim as an exponent of French thought. I shall first briefly situate Durkheim in his time and age, with special emphasis on his political views and his ethnic identity as a secularised Jew. Then I turn to Durkheim’s relation with the discipline in which he was originally trained, philosophy. I shall pay attention to the complex relationship between Durkheim and Kant and further highlight his dualism, epistemology, and views on primitive classification, as well as his puzzling realism, the place of emergence in his thought, and his moralist tendencies. I shall finally articulate Durkheim’s transition to sociology and how he gave over the torch of emerging sociology to his main students, having thus created an adequate context in which to discuss Durkheim’s final masterpiece (Les formes) and the still dominant theory of religion it expounds.","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130762731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/24683949-12340108
Conor Barry
This essay explores the use of the notions of grammar and governmentality in the work of Michel Foucault and Noam Chomsky. The goal is to exhibit the contrast but also mutual influence of these thinkers. Chomsky places his own linguistic theory in what he calls a tradition of Cartesian linguistics. Foucault’s presents an archaeology of general grammar in the French Classical Era. Chomsky and Foucault equally posit principles of governmentality. Both differ in terms of what they think the study of language brings to our understanding of ethical and political freedom. Governmental structure and grammatical structure, for Foucault, are always conventional, rather than essential – merely expressions of power dynamics. For Chomsky, the innate and natural human universality implied by underlying structures, in contrast, intimates a path to freedom from governmental coercion and oppression.
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Pub Date : 2021-12-23DOI: 10.1163/24683949-12340109
Robert Clarke
{"title":"Édouard Glissant, Philosopher: Heraclitus and Hegel in the Whole-World, written by Alexandre Leupin and translated by Andrew Brown","authors":"Robert Clarke","doi":"10.1163/24683949-12340109","DOIUrl":"https://doi.org/10.1163/24683949-12340109","url":null,"abstract":"","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129031449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/24683949-12340104
Man-to Tang
In the Chinese translation of The Crossing of the Visible, French phenomenologist Jean-Luc Marion, raised a question about the nature of Chinese paintings: does the relationship between the visible and the invisible commonly found in the Western painting play the same role in Chinese paintings? This essay aims to answer this question. Chinese paintings maintain the acceptance that the sense of perspective is the implementation of the invisible by the varieties of perspective, the invisible vanishing point and the poem. My response to Marion’s call opens a fresh dialogue between the French thought and the Chinese thought.
{"title":"Perspective, the Visible and the Invisible in Chinese Paintings: A Response to Jean-Luc Marion","authors":"Man-to Tang","doi":"10.1163/24683949-12340104","DOIUrl":"https://doi.org/10.1163/24683949-12340104","url":null,"abstract":"\u0000In the Chinese translation of The Crossing of the Visible, French phenomenologist Jean-Luc Marion, raised a question about the nature of Chinese paintings: does the relationship between the visible and the invisible commonly found in the Western painting play the same role in Chinese paintings? This essay aims to answer this question. Chinese paintings maintain the acceptance that the sense of perspective is the implementation of the invisible by the varieties of perspective, the invisible vanishing point and the poem. My response to Marion’s call opens a fresh dialogue between the French thought and the Chinese thought.","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125834317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/24683949-12340107
Wisam Kh. Abdul-Jabbar
Drawing on Michel Serres’ philosophical notion of the parasite, this essay examines human responses to COVID-19 that mimic parasitic behavior and uncovers social inequalities by exploring the cultural hegemony of viral logics perpetuated by the media. How can Serres’ notion of the parasite help us reconfigure structural inequalities experienced during the COVID-19 pandemic? First, the essay examines the viral logic of internalization, which seeks to normalize, if not appropriate, the impact of the pandemic through the rhetoric of togetherness. This particular viral logic induces people to internalize the coronavirus pandemic’s illusion as a crisis shared equally by all. The essay argues that this viral logic of internationalization resonates with the French philosopher’s parasite logic, which, in Serres’s words, “expresses a new epistemology, another theory of equilibrium.” Second, this study examines the viral logic of correlation, which designates certain marginalized cultural groups as infected, and therefore regarded and (mis)treated like the virus itself. This blame-game behavior mimics the parasite’s violation of the host’s chain of order and the creation of a new order that is self-serving. Hence, the parasite becomes, according to Serres, “an interruption, a corruption, a rupture of information.” The essay argues that although mimicry becomes the theatre of cultural inequality that dominates communication for the parasitic operator, both viral logics of parasitic mimicry eventually slip into mockery.
{"title":"COVID-19 Viral Logics, Social Inequality and Hegemonic Mimicry: Deconstructing the Language of Cultural Parasite","authors":"Wisam Kh. Abdul-Jabbar","doi":"10.1163/24683949-12340107","DOIUrl":"https://doi.org/10.1163/24683949-12340107","url":null,"abstract":"\u0000Drawing on Michel Serres’ philosophical notion of the parasite, this essay examines human responses to COVID-19 that mimic parasitic behavior and uncovers social inequalities by exploring the cultural hegemony of viral logics perpetuated by the media. How can Serres’ notion of the parasite help us reconfigure structural inequalities experienced during the COVID-19 pandemic? First, the essay examines the viral logic of internalization, which seeks to normalize, if not appropriate, the impact of the pandemic through the rhetoric of togetherness. This particular viral logic induces people to internalize the coronavirus pandemic’s illusion as a crisis shared equally by all. The essay argues that this viral logic of internationalization resonates with the French philosopher’s parasite logic, which, in Serres’s words, “expresses a new epistemology, another theory of equilibrium.” Second, this study examines the viral logic of correlation, which designates certain marginalized cultural groups as infected, and therefore regarded and (mis)treated like the virus itself. This blame-game behavior mimics the parasite’s violation of the host’s chain of order and the creation of a new order that is self-serving. Hence, the parasite becomes, according to Serres, “an interruption, a corruption, a rupture of information.” The essay argues that although mimicry becomes the theatre of cultural inequality that dominates communication for the parasitic operator, both viral logics of parasitic mimicry eventually slip into mockery.","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126708917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-19DOI: 10.1163/24683949-12340095
E. N. Zuhmboshi
Most musicians, in their songs, portray their philosophical vision of life as could be seen in the case of Lucky Philip Dube, the black South African reggae musician. His songs show that he adheres to the principle of ethical humanism and portrays him as a crusader of social justice. Thus, this essay shows the link between musical art and law by examining the commitment of Dube’s lyrical composition in fighting for a just legal system in his society. This essay therefore, analyses some of his lyrical productions in order to expound on the philosophical ideas underneath the songs and how they tie with the search of an alternative jurisprudence and humanism in postcolonial discourse and the liberation of the subaltern. From the perspective of natural law theory, this essay postulates that Dube’s songs criticise the injustice of the legal philosophy in his society and quest for an impartial jurisprudence – that of equality and justice in his society.
大多数音乐家在他们的歌曲中描绘了他们对生活的哲学看法，南非黑人雷鬼音乐家拉奇·菲利普·杜布(Lucky Philip Dube)就是一个例子。他的歌曲表现了他坚持伦理人道主义的原则，并将他描绘成一个社会正义的斗士。因此，本文通过考察杜贝的抒情作品在他的社会中为正义的法律制度而斗争的承诺，展示了音乐艺术与法律之间的联系。因此，本文分析了他的一些抒情作品，以阐述歌曲背后的哲学思想，以及它们如何与在后殖民话语和底层解放中寻找替代法理学和人文主义联系在一起。本文从自然法理论的角度出发，认为杜贝的歌曲批判了他所处社会中法律哲学的不公正，并寻求一种公正的法理学——平等与正义的法理学。
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Pub Date : 2021-10-19DOI: 10.1163/24683949-12340093
L. Giombini
Although an ontological approach to musical works has dominated analytic aesthetics for almost fifty years, criticisms have recently started to spread in the philosophical literature. Contestants blame mainstream musical ontology for lacking historical awareness, questioning the cogency of metaphysical proposals that are substantially essentialist with regard to our musical concepts. My aim in this paper is to address this accusation by engaging the historicist critics in a sustained debate. I argue that even if the arguments based on history and sociology turn out to be accurate, this may not be enough of a reason to abandon the ontological project altogether. Ontology and history do not necessarily clash. Moreover, historical-sociological examinations do not fulfil our philosophical interest in music. I conclude by making a plea to “historical ontology,” a perspective that does not reject ontology but closely connects it to the dialectic between historical research and aesthetic interest.
{"title":"Music, Ontology and the Need for History: A Critical Discussion","authors":"L. Giombini","doi":"10.1163/24683949-12340093","DOIUrl":"https://doi.org/10.1163/24683949-12340093","url":null,"abstract":"\u0000Although an ontological approach to musical works has dominated analytic aesthetics for almost fifty years, criticisms have recently started to spread in the philosophical literature. Contestants blame mainstream musical ontology for lacking historical awareness, questioning the cogency of metaphysical proposals that are substantially essentialist with regard to our musical concepts. My aim in this paper is to address this accusation by engaging the historicist critics in a sustained debate. I argue that even if the arguments based on history and sociology turn out to be accurate, this may not be enough of a reason to abandon the ontological project altogether. Ontology and history do not necessarily clash. Moreover, historical-sociological examinations do not fulfil our philosophical interest in music. I conclude by making a plea to “historical ontology,” a perspective that does not reject ontology but closely connects it to the dialectic between historical research and aesthetic interest.","PeriodicalId":160891,"journal":{"name":"Culture and Dialogue","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125072996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-19DOI: 10.1163/24683949-12340097
A. Masliakova
Understanding cultural practices including music from the visual may look like a daring endeavour. To disclose the synaesthetic relationships between such practices, this article offers a nomadic journey through different interpretive aspects of the visual arts, music history and even philosophy, starting from the prism of Raphael’s famous fresco “The School of Athens” (1509–1511).
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