Figal has long been recognized as one of the most insightful interpreters working in the tradition of philosophical hermeneutics and its leading themes concerned with ancient Greek thought, art, language, and history. With this book, Figal presses this tradition of philosophical hermeneutics in new directions. In his effort to forge philosophical hermeneutics into a hermeneutical philosophy, Figal develops an original critique of the objectification of the world that emerges in modernity as the first stage in his systematic treatment of the (...) elements of experience hermeneutically understood. Breaking through the prejudices of modernity, but not sacrificing the importance and challenge of the objective world that confronts us and is in need of interpretation, Figal reorients how it is that philosophy should take up some of its most longstanding and stubborn questions. World, object, space, language, freedom, time, and life are refreshed as philosophical notions here since they are each regarded as elements of human life engaged in the task assigned to each of us—the task of understanding ourselves and our world. (shrink)

Realism is a term that can be understood only by contrasting it with an opposite term, such as idealism or representationalism. But representationalism has indeed to presuppose something that is represented,in order for the representation to be possible at all. This does not mean,however, to fall prey to a naïve realism: our grasp on reality is always determined by our own way of accessing it. A realism which can take hold of this presupposition is to be called phenomenological realism. In (...) this sense, reality is always given only in representation, that is, mediated by our access to it, but is not itself representation. It is an objectivity opposed to ourself, it has a particular place and it appears, but its appearance does not belong to the subject, it is simply there. Therefore, appearances are spatial and have to be described as such. (shrink)

Heidegger's Being and Time: Critical Essays provides a variety of recent studies of Heidegger's most important work. Twelve prominent scholars, representing diverse nationalities, generations, and interpretive approaches deal with general methodological and ontological questions, particular issues in Heidegger's text, and the relation between Being and Time and Heidegger's later thought. All of the essays presented in this volume were never before available in an English-language anthology. Two of the essays have never before been published in any language ; three of (...) the essays have never been published in English before , and two of the essays provide previews of works in progress by major scholars. (shrink)

This paper is an attempt to solve a key problem of phenomenology. The problem is given with the double role of the revealing capacity for which phenomena are present. On the one hand, this capacity must be prior to all phenomena, because it allows phenomena to show themselves and thus to be what they essentially are. On the other hand, the revealing capacity must be situated in the midst of phenomena; it must belong to the phenomenal world in order to (...) have access to it. This problem has been discussed in different versions by Husserl, Heidegger, and Merleau-Ponty, but in every version it remains aporetic. The problem can be solved by conceiving the capacity, which reveals phenomena, as spatial. The paper shows how the essential priority of the revealing capacity as well as its situatedness in the midst of phenomena has spatial character. Phenomenology thus is spatial thinking. (shrink)

This first book-length work of the prominent German philosopher Gunter Figal to appear in English offers a radical defense of metaphysical philosophy in the era of postmodern thought.

El presente artículo pretende trazar las líneas generales de una fenomenología realista que gira alrededor del espacio entendido como aquello que posibilita la fenomenalidad de los fenómenos. Tomando como punto de partida la crítica del realismo especulativo (Meillassoux) al correlacionismo fenomenológico, intentaremos mostrar, por el contrario, que la realidad se comprende mejor si se tiene en cuenta la correlación entre el aparecer y lo que aparece. Sin embargo, para hacer justicia a la realidad, no se puede seguir sin más la (...) concepción husserliana de esta correlación. La realidad no debe entenderse como una realidad inmanente; es necesario considerar más bien su exterioridad, esto es, su espacialidad. El espacio, sin embargo, no aparece, sino que es inaparente. En consecuencia, una fenomenología de la exterioridad, esto es, una fenomenología realista, es necesariamente una fenomenología de lo inaparente. (shrink)

The Heidegger Reader brings key texts from the entire course of Heidegger’s philosophical career into one volume. Many of the selections, translated here for the first time, offer new insight into Heidegger’s thought for both the beginning student and the experienced scholar. A critical and interpretive introduction by Günter Figal traces the many thematic paths that are necessary for developing a comprehensive understanding of Heidegger’s most important work. The carefully chosen readings are designed to reflect the concerns that are most (...) relevant to philosophy today. Special features include an authoritative chronology of Heidegger’s life, a current list of the Complete Works, and a definitive translation of Heidegger’s controversial interview with Der Spiegel. (shrink)

Czech translation of Günter Figal’s lecture Theorie und Praxis: Über die Möglichkeit ihrer klassischen Verhältnisbestimmung.

Gadamer’s hermeneutics is no discipline or simply a foundation of the Humanities, but addresses the fundamental problem of phenomenology: how things show themselves and can be attained. It does so, however, not in Husserl’s terminology but in its “ontological turn”. In elaborating on the ontology of language, Gadamer equates the accessibility of things and their Being, a move eminent in the “speculative character of language” discussed in the third part of Truth and Method. For Gadamer as well as for Heidegger, (...) ontology is possible only as phenomenology. How things show themselves, however, cannot be understood in relation to an absolute consciousness or understanding Dasein, but, following Plato, from the “evidence of the beautiful” in an hermeneutics of the artwork. Gadamer’s phenomenology thus describes the accessibility of things as the coming to pass of their truth and presence, much as the later Heidegger does in relation to physis and openness. Hermeneutical reflection of the fundamental problem of phenomenology also reveals the displacement in the continuity of coming to pass as the “space between words” opened in the manifold of interpretations. (shrink)

In seinem 1960 erschienenen Hauptwerk "Wahrheit und Methode" nimmt Gadamer die bis in die Antike zuruckreichende hermeneutische Tradition auf, um vor allem im Anschluss an Hegel und Heidegger eine philosophische Hermeneutik zu begrunden.

This paper is concerned with the relationship between philosophy and rhetoric. It argues that philosophical claims are bound to language, and yet philosophy’sclaim to objective clarity is meaningless if language is radically perspectival. The paper attempts to show the limitations and possibilities that Platonic dialectics and Derridean deconstruction share in their respective approaches to the analysis of language and the relationship between speech and writing. The paper concludes that language is ambiguous, neither reducible to the relativism of sophistry nor to (...) the essentialism of metaphysics. Against Derrida, the paper argues that without structure, voice is not language; it renders only inarticulate sounds. Yet in speaking, this structural aspect gets taken for granted and passed over. Only when language is established in writing is the possibility of voice first recognized. (shrink)

In this essay, I wish to elucidate the specific function architectural photography has for the experience of buildings. With photographs, the image character of buildings can be discovered and represented, and thereby the nature of habitation can be revealed as well. Taking or contemplating pictures of habitable rooms one could learn that habitation is primarily perceptional—a character mostly concealed by the dominance of everyday practice. In order to give an impression of the manifold possibilities architectural photography holds, I discuss the (...) work of five quite different photographic artists, namely Julius Shulman, Yutaka Saito, Candida Höfer, Cy Twombly, and Yasuhiro Ishimoto. (shrink)

In the article I discuss Husserl’s conception of the Lifeworld as developed in his Crisis Book, in order to find out whether art can be especially illuminative in order to understand the Lifeworld and one’s own living in it. I draw a parallel between the sciences as discussed by Husserl as abstractions from the Lifeworld that offer a special view of what in the Lifeworld as such remains disclosed. However, scientific and artistic abstraction differs in character. Whereas the sciences establish (...) formal systems and thereby discover the world as to its computability, the arts abstract from the everyday set of meanings and go back to the primordial and original experience of the world in its perceptibility. Thus they are able to draw attention to the essential character of the Lifeworld as such. (shrink)

The Symposium is one of Plato’s most literary and poetic dialogues. How might one reconcile this evidence of Plato’s predilection for poetry in light of his severe critique of poetry in the Republic? Though his critique is modified and refined in other dialogues, the power of his critique is nowhere significantly undermined. I argue in this paper that Plato’s poetic writing is not inconsistent with his critique, and that in fact there is an affinity between his practice of poetry and (...) his critique. Plato’s critique of poetry is not aimed against poetry itself, but just against its problematic claims and false promises. In turn, Plato’s use of the poetic image, especially in relationship to eros, delimits philosophy, and places it in relation to that which is not attainable for it. The battle between poetry and philosophy is seen to involve a reciprocal benefit for both, and a hidden affinity. In this sense, the poetic image has its philosophical sense precisely because it falls outside of the philosophical perspective. (shrink)

Deux questions sont ici liées l’une à l’autre. D’un côté, il s’agit de suivre pas à pas les réflexions des dernières années de Heidegger sur la phénoménologie, telles qu’elles se donnent à lire avant tout dans le séminaire de Freiburg-Zähringen en 1973 et dans les notes posthumes. De l’autre côté, l’interprétation tardive de Parménide est ici discutée, et il est montré que Heidegger lie sa conception révisée de la phénoménologie avec une compréhension « tautologique » de la pensée de l’être (...) chez Parménide, et comment il fait ce lien. Le but de cet article est de discuter de manière critique les limites d’une phénoménologie orientée vers la parole en tant qu’elle nomme. (shrink)

Heideggers »Schwarze Hefte« enthalten antisemitische Ressentiments von einer bisher nicht bekannten Schärfe. Sie erlauben, Heideggers politische Position genauer zu bestimmen als bisher, und geben darüber hinaus Aufschluss über dessen Geschichts-, Philosophie- und Selbstbild. Die Beiträge dieses Bandes bieten eine fundierte philosophische Kontextualisierung und Bewertung.

For philosophical hermeneutics as Hans‐Georg Gadamer conceived it, art plays an essential role. If hermeneutics and aesthetics are as strictly opposed as Gadamer suggests, the “abstraction” performed by aesthetic consciousness must be an abstraction from the truth of art. As the result of such an abstraction, the aesthetic view of art is secondary; it must be conceived of as nonoriginal experience of art, which, derivative as it is supposed to be, is only possible on the basis of original experience, as (...) an abstraction from it. Aesthetic objects are essentially correlated to perception, the word for which in Ancient Greek is ‘aesthesis’. But aesthetic objects cannot be coextensive with everything perceptible; otherwise, the term “aesthetic” could not be used significantly in respect to artworks. Being perceptibly present, artworks present phenomenal structures of meaning, texts in textures, which must not be directly applied to the factual world or identified with its “essence”. (shrink)

Die Beiträge des vorliegenden Bandes erkunden das Phänomen der Musse in seiner Räumlichkeit und in seinem Verhältnis zur Zeit. Im mussetypischen Verweilen tritt das Nacheinander der Zeit zurück, während der Raum mit seinen Ordnungen des Nebeneinander bestimmend wird. Diese spezifische Raumzeitlichkeit wird in vier Abschnitten ausgelotet: Der erste ist Konzepten und Theorien der Musse gewidmet, der zweite der ästhetischen Erfahrung von Räumen der Natur und Kunst, der dritte gebauten Räumen der Musse, der vierte der Musseerfahrung, wie sie sich in Kommunikations- (...) und Schreibprozessen darstellt. Die Bandbreite der Untersuchungen reicht von der philosophischen, begriffsanalytischen Reflexion über die phänomenologische Analyse sowie von der literaturwissenschaftlichen Falluntersuchung hin zur kunsthistorischen Betrachtung. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 65 Heft: 4 Seiten: 798-806.

Plato's cntique of poetry in the Republic aims at elucidating the relationship between poetry and philosophy to show the possibility of philosophical thinking. Both philosophy and poetry represent two own ways of experience depending on each other. While poetry is characterized as deceptive, philo- sophy proves herself as experience of tmth with an offspnng in her strife with poetry's untmth, since the latter is unable to express the difference fundamental to her st~cture as mimesis or representation: the difference between the (...) represented Sache and mimesis herself, this recognition of difference being the only way to a measure of her appropriateness to the Sache. Criticizing the mimetic lack of poetry, philosophy leams about her exclusive abilities as mimetic art herself: to perform the mimetic distance in interrogating her mimetic appropriateness and by this to gain a tme understanding about the represented. (shrink)