Ethicality and Imagination is the astounding conclusion to John Sallis's landmark trilogy launched with Force of Imagination and Logic of Imagination. In this new work, Sallis embarks on an unforgettable voyage spanning the cosmos and delving deep into what makes us human. If the first two works consider the question of being and thinking, respectively, the third and culminating volume takes up the question of action. In a series of highly original and always provocative meditations, Sallis articulates the way humans are rooted in their abodes yet not determined by them. Ethicality and Imagination develops a new approach to the relation of the imagination to literature, ethics, political thought, and recent discoveries in astrophysics. It represents a brilliant conclusion to one of the most exciting works of thinking in the Continental school in recent decades.
The Verge of Philosophy is both an exploration of the limits of philosophy and a memorial for John Sallis’s longtime friend and interlocutor Jacques Derrida. The centerpiece of the book is an extended examination of three sites in Derrida’s thought: his interpretation of Heidegger regarding the privileging of the question; his account of the Platonic figure of the good; and his interpretation of Plato’s discourse on the crucial notion of the chora, the originating space of the universe. Sallis’s reflections are given added weight—even poignancy—by his discussion of his many public and private philosophical conversations with Derrida over the decades of their friendship. This volume thus simultaneously serves to mourn and remember a friend and to push forward the deeply searching discussions that lie at the very heart of that friendship. “All of John Sallis’s work is essential, but [this book] in particular is remarkable. . . . Sallis shows better than anyone I have ever read what it means to practice philosophy on the verge.”—Walter Brogan, Villanova University
One of America’s preeminent philosophers “has produced a book with fascinating new insights into the ancient conception of nature” (Choice). Broaching an understanding of nature in Platonic thought, John Sallis goes beyond modern conceptions and provides a strategy to have recourse to the profound sense of nature operative in ancient Greek philosophy. In a rigorous and textually based account, Sallis traces the complex development of the Greek concept of nature. Beginning with the mythical vision embodied in the figure of the goddess Artemis, he reanimates the sense of nature that informs the fragmentary discourses of Anaximenes, Heraclitus, Parmenides, and Empedocles and shows how Plato takes up pre-Socratic conceptions critically while also being transformed. Through Sallis’s close reading of the Theaetetus and the Phaedo, he recovers the profound and comprehensive concept of nature in Plato’s thought.
A reflection on the urgent need for a new philosophical understanding of, and relationship with, nature. John Sallis dismantles the traditional conception of nature in this book of imagination and the cosmos. In the thought of Emerson, Hegel, and Schelling, Sallis discerns the seeds of an understanding of nature that goes against the modern technological assault on natural things and opens a space for a revitalized approach to the world. He identifies two fundamental reorientations that philosophical thought is called on to address today: the turn to the elemental in nature and the turn from nature to the cosmos at large. He traces the elusive course of the imagination, as if coming from nowhere, and describes the way in which it bears on the relation of humans to nature. Sallis’s account demonstrates that a renewal of our understanding of nature is one of the prime imperatives we demand from philosophy today. “Inspiring . . . [for] anyone looking to open up their mind to the reflection on other ways to live more closely in tune with their own nature and to the nature that is around them.” —Phenomenological Reviews
John Sallis's thought is oriented to two overarching tasks: to bring to light the elemental in nature and to show how the imagination operates at the very center of human experience. He undertakes these tasks by analyzing a broad range of phenomena, including perception, the body, the natural world, art, space, and the cosmos. In every case, Sallis develops an original form of discourse attuned to the specific phenomenon and enacts a thorough reflection on discourse itself in its relation to voice, dialogue, poetry, and translation. Sallis's systematic investigations are complemented by his extensive interpretations of canonical figures in the history of philosophy such as Plato, Aristotle, Kant, Schelling, and Hegel and by his engagement with the most original thinkers in the areas of phenomenology, hermeneutics, and deconstruction.
On Beauty and Measure features renowned philosopher John Sallis' commentaries on Plato's dialogues the Symposium and the Statesman. Drawn from two lecture courses delivered by Sallis, they represent his longest and most sustained engagement to date with either work. Brilliantly original, Sallis's close readings of Plato's dialogues are grounded in the original passages and also illuminate the overarching themes that drive the dialogues.
[Being and Logos is] a philosophical adventure of rare inspiration. . . . Its power to illuminate the text . . . , its ecumenicity of inspiration, its methodological rigor, its originality, and its philosophical profundity—all together make it one of the few philosophical interpretations that the philosopher will want to re-read along with the dialogues themselves. A superadded gift is the author’s prose, which is a model of lucidity and grace." —International Philosophical Quarterly John Sallis's luminous reading of six major Platonic dialogues—Apology, Meno, Phaedrus, Cratylus, Republic, and Sophist—weaves discussion of dramatic and mythical aspects together with basic philosophical issues. Being and Logos fundamentally reorients our reading and understanding of the platonic dialogues. This new edition of this classic of philosophical interpretation augments the Collected Writings of John Sallis, published by Indiana University Press.
Nietzsche's Voices, a much-anticipated volume of the Collected Writings of John Sallis, presents his two-semester lecture course on Nietzsche offered in the Philosophy Department of Duquesne University during the school year 1971–72. "Nietzsche is easy to read; his is apparently the easiest of all the great philosophies. Yet the easy intelligibility is deceptive. Nietzsche's writings make us believe we have understood when in fact we have not. His philosophy is actually the exact opposite of easy," says Sallis. With this warning always in mind, Sallis first discusses Nietzsche's life and the relevance of the ancient Greeks to his thought and then analyzes Nietzsche's views on truth, history, morality, and the death of God. The entire second half of the book is devoted to Nietzsche's main work, the tragic, comedic, poetic Thus Spoke Zarathustra. Nietzsche's Voices offers a sensitive and brilliant introduction to the thought of Friedrich Nietzsche, as presented by one of today's most significant philosophers.
In Platonic Legacies John Sallis addresses certain archaic or exorbitant moments in Platonism. His concern is to expose such moments as those expressed in the Platonic phrase "beyond being" and in the enigmatic word chora. Thus he ventures to renew chorology and to bring it to bear, most directly, on Platonic political discourse and Plotinian hyperontology. More broadly, he shows what profound significance these most archaic moments of Platonism, which remained largely unheeded in the history of philosophy, have for contemporary discussions of spacings, of utopian politics, of the nature of nature, and of the relation between philosophy and tragedy. Thus addressing Platonism in its bearing on contemporary philosophy, Platonic Legacies engages, in turn, a series of philosophers ranging from Nietzsche, Heidegger, and Arendt to certain contemporary American Continental philosophers. These engagements focus on the way in which these recent and contemporary philosophers take up the Platonic legacies in their own thought and on the way in which the exposure of an archaic Platonism can redirect or supplement what they have accomplished.
Philosophers have become increasingly concerned with the places and spaces of our Earth. They are finally coming to acknowledge their situatedness, and to be grateful for it. Sallis's wonderful book evokes in word and image the power of places that bring him—and now us—to think, feel, imagine, and write." —David Farrell Krell, DePaul University How does it feel to get caught in a violent storm in the high Alps? What does a visitor think while ascending the sacred way in Delphi? How does a rock garden in Kyoto challenge one's sense of self? What comes out of a face-to-face encounter with deer in the woods? In Topographies, John Sallis invites readers to open their imaginations to the power of evocative places. Written in the style of a travel diary, Sallis responds reflectively and receptively to experiences that are beyond the carefully prepared tidbits of the exotic that often characterize tourism. On this venture into the foreign, Sallis discloses a unique power for drawing from place as he allows himself and readers to be drawn into it. Forty illustrations grace the book and enhance our sense of what it means to understand and connect to our world.
Everyone complains about what is lost in translations. This is the first account I have seen of the potentially positive impact of translation, that it represents... a genuinely new contribution." -- Drew A. Hyland In his original philosophical exploration of translation, John Sallis shows that translating is much more than a matter of transposing one language into another. At the very heart of language, translation is operative throughout human thought and experience. Sallis approaches translation from four directions: from the dream of nontranslation, or universal translatability; through a scene of translation staged by Shakespeare, in which the entire range of senses of translation is played out; through the question of the force of words; and from the representation of untranslatability in painting and music. Drawing on Jakobson, Gadamer, Benjamin, and Derrida, Sallis shows how the classical concept of translation has undergone mutation and deconstruction.
Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work. Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human.
The Shakespearean image of a tempest and its aftermath forms the beginning as well as a major guiding thread of Logic of Imagination. Moving beyond the horizons of his earlier work, Force of Imagination, John Sallis sets out to unsettle the traditional conception of logic, to mark its limits, and, beyond these limits, to launch another, exorbitant logic—a logic of imagination. Drawing on a vast range of sources, including Plato, Aristotle, Kant, Hegel, Nietzsche, and Freud, as well as developments in modern logic and modern mathematics, Sallis shows how a logic of imagination can disclose the most elemental dimensions of nature and of human existence and how, through dialogue with contemporary astrophysics, it can reopen the project of a philosophical cosmology.
Since Hegel, philosophers have declared repeatedly that metaphysics is at an end, a pronouncement that has sparked much contemporary philosophical debate. What exactly does the end, or closure, of metaphysics mean, and what are the implications of this view? John Sallis characterizes the end of metaphysics as a limit, or horizon, both enclosing metaphysical thought and opening the field of thinking beyond it. He elaborates five areas in which the boundaries of thinking are extended: imagination as an opening power, the radicalizing of phenomenology's injunction to attend to the things themselves, Heidegger's shift of thinking toward an opening or clearing, archaic closure through a return to Plato and Heraclitus, and the nonidentity that takes place in the act of delimitation. This last question is developed in relation to Husserl's project of a pure phenomenology, to the debate between hermeneutics and deconstruction, and to the secluding of ground announced in Schelling's thought.
This excellent work... deserves the serious consideration of all who are interested in contemporary philosophy as well as those who concern themselves with ancient philosophy, especially Plato." --Review of Metaphysics In Chorology, John Sallis takes up one of the most enigmatic discourses in the history of philosophy. Plato's discourse on the chora--the chorology--forms the pivotal moment in the Timaeus. The implications of the chorology are momentous and communicate with many of the most decisive issues in contemporary philosophical discussions.
Stunning insights into Renaissance aesthetic theory. . . a rigorous and critical assessment of key moments in the Western aesthetic tradition, speaks beyond the audience of philosophers and literary critics . . ." —Renaissance Quarterly "Stone challenges the simple opposition of philosophy and art . . . in a style that has the directness of sculpture." —John Llewelyn In an elegant and provocative text enhanced by photographs, John Sallis offers an important new theory of philosophy and art. He takes up the various guises and settings in which stone appears and what philosophers have said about the beauty of stone.
[Sallis's] ideas are presented in a singular, scholarly, remarkable, captivating, conceptually rigorous, dense, and deep manner. . . . Highly recommended." —Choice "This fascinating book by one of the more original voices writing philosophy in English poses questions about the nature of the visible and invisible, sensible and intelligible." —Dennis Schmidt What is it that an artist paints in a painting? Working from paintings themselves rather than from philosophical theories, John Sallis shows how, through shades and limits, the painter renders visible the light that confers visibility on things. In his extended examination of three phases in the development of modern painting, Sallis focuses on the work of Claude Monet, Wassily Kandinsky, and Mimmo Paladino—three painters who, each in his own way, carry painting to the limit.
By applying the tools of deconstruction to crucial texts of German Idealism, John Sallis reveals the suppressed but essential role of imagination in even the most ambitious attempts to represent pure reason. Sallis focuses on certain operations of "spacing" in metaphysics—textual lapses and leaps in which reason is displaced or suspended or abridged. In the project of establishing priority of reason, such operations can appear only in disguise, and Sallis reveals the play of imagination and metaphor that masks them. Concentrating on what has been called the closure of metaphysics, he examines texts in which the suppression of spacing would be carried out most rigorously, texts in which even metaphysics itself is seen as only an errant roaming, a spacing that must still be secured, to be replaced by a pure space of truth. And yet, in these very texts Sallis identifies outbreaks of spacing that would disrupt the tranquil space of reason. Rather than closure, he finds an opening of reason to imagination. Sallis's reading of a metaphorical system in the Critique of Pure Reason reveals a fissuring and historicizing of what would otherwise be called pure reason. Next he traces in Fichte's major work as well as in several lesser-known texts a decentering from reason to imagination, which he characterizes as a power of hovering between opposites and beyond being. Sallis then returns to the Critique of Pure Reason to expose, in relation to the famous question of the common root of reason and sensibility, a certain eccentricity of reason. Proceeding to the Critique of Judgment, he traces a divergence of sublime nature away from that supersensible space of reason to which Kant would otherwise assimilate it—a withdrawal toward an abyss. Finally, Sallis turns to Hegel's Encyclopedia, supplementing his reading with previously unknown notes from Hegel's lectures on those sections dealing with imagination; his reading of those sections serves to expose, within the most rigorous reduction of spacing in the history of metaphysics, an irrepressible and disseminative play of imagination.
This latest philosophical text by John Sallis is inspired by the work of contemporary Chinese painter Cao Jun. It carries out a series of philosophical reflections on nature, art, and music by taking up Cao Jun's art and thought, with a focus on questions of the elemental. Sallis's reflections are not a matter of simply relating art works to philosophical thought, as theoretical insights and developments run throughout Cao Jun's writings and inform many of his artistic works. Sallis maintains abundant points of contact with Chinese philosophical traditions but also with Western philosophy. In these reflections on art, Sallis poses a critique of mimesis and considers the relation of painting to music. He affirms his conviction that the artist must always turn to nature, especially as reflections on the earth and sky delimit the scale and place of what is human. Full-color illustrations enhance this provocative and penetrating text.
This volume of the Collected Writings of John Sallis presents his lecture courses on Kant. Each course was devoted respectively to one of Kant's three Critiques, and so the book as a whole treats the entirety of the Kantian critical project. Sallis displays here, as he does in all his lecture courses, an uncanny ability to open up dense philosophical texts. The matters Kant deals with—in theoretical, practical, and aesthetic philosophy—are difficult in themselves, and Kant's writings might at times seem so convoluted as to magnify the difficulty. Sallis patiently and successfully lays out the issues and the critical approach to them, such that the reader is led step by step into the very core of Kant's spirit of critique. This volume makes Kant accessible to students, while the most advanced scholars will also profit from it.
This second edition of The Gathering of Reason expands on John Sallis's classic study of Kant's First Critique. This study examines the relation of imagination to reason and to human knowledge and action in general. Moving simultaneously at several different hermeneutical levels, Sallis carries out an interpretation of the Transcendental Dialectic of Kant's Critique of Pure Reason. Although, in contrast to the Analytic, the Dialectic seldom refers explicitly to imagination, Sallis shows that the concept of reason in the Dialectic requires the complicity of imagination. Sallis demonstrates that for Kant, reason alone does not suffice for bringing before our minds the metaphysical ideas of the soul, the world, and God; rather it is through the force of imagination that these ideas are brought forth and made effective. A new preface situates the book in relation to Sallis's later work, and an extensive afterword focuses on Kant and the Greeks.
A collection of philosophical essays on place and nature, featuring beautiful paintings and drawings. What is the effect of light as it measures the seasons? How does light leave different traces on the terrain—on a Pacific Island, in the Aegean Sea, high in the Alps, or in the forest? John Sallis considers the expansiveness of nature and the range of human vision in essays about the effect of light and luminosity on place. Sallis writes movingly of nature and the elements, employing an enormous range of philosophical, geographical, and historical knowledge. Paintings and drawings by Alejandro A. Vallega illuminate the text, accentuating the interaction between light and environment. “A profound and exceptionally nuanced piece of writing that brings philosophy and art into close proximity. Decades of Sallis’s remarkable philosophical thinking are at work and play.” —Jason M. Wirth, Seattle University “Beautifully conceived and written. Sallis engages the elemental interplay of earth and sky, translucence and obscurity, airiness and density, height and depth, wet and dry, gods and mortals, storms and clouds, rivers and fog, plains and mountains–nature in its expansive, indefinable materiality and ephemeral intangibility.” —Charles E. Scott, Vanderbilt University
Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."—Richard Schacht, Times Literary Supplement
This volume of the collected writings of John Sallis presents a two-semester lecture course on Maurice Merleau-Ponty given at Duquesne University from 1970 to 1971. Devoted primarily to a close reading of the French philosopher's magnum opus, Phenomenology of Perception, the course begins with a detailed analysis of The Structure of Behavior. The central topics considered in the lectures include the functions of the phenomenological body; beyond realism and idealism; the structures of the lived world; spatiality, temporality, language, sexuality; and perception and knowledge. Sallis illuminates Merleau-Ponty's first two works and offers a thread to follow through developments in his later essays. Merleau-Ponty's notion of the primacy of perception and his claim that "the end of a philosophy is the account of its beginning" are woven throughout the lectures. For Sallis's part, these lectures are foundational for his extended engagement with Merleau-Ponty's The Visible and the Invisible, which was published in Sallis's Phenomenology and the Return to Beginnings.
Force of Imagination The Sense of the Elemental John Sallis A bold and original investigation into how imagination shapes thought and feeling. "This is a bold new direction for the author, one that he takes in an arresting and convincing manner.... a powerful, original approach to what others call 'ecology' but what Sallis shows to be a question of the status of the earth in philosophical thinking at this historical moment." --Edward S. Casey In this major original work, John Sallis probes the very nature of imagination and reveals how the force of imagination extends into all spheres of human life. While drawing critically on the entire history of philosophy, Sallis's work takes up a vantage point determined by the contemporary deconstruction of the classical opposition between sensible and intelligible. Thus, in reinterrogating the nature of imagination, Force of Imagination carries out a radical turn to the sensible and to the elemental in nature. Liberated from subjectivity, imagination is shown to play a decisive role both in drawing together the moments of our experience of sensible things and in opening experience to the encompassing light, atmosphere, earth, and sky. Set within this elemental expanse, the human sense of time, of self, and of the other proves to be inextricably linked to imagination and to nature. By showing how imagination is formative for the very opening upon things and elements, this work points to the revealing power of poetic imagination and casts a new light on the nature of art. John Sallis is Liberal Arts Professor of Philosophy at Pennsylvania State University. His previous books include Being and Logos: Reading the Platonic Dialogues; Shades--Of Painting at the Limit; Stone; Chorology: On Beginning in Plato's Timaeus (all published by Indiana University Press), Crossings: Nietzsche and the Space of Tragedy and Double Truth. Studies in Continental Thought--John Sallis, editor Contents Prolusions On (Not Simply) Beginning Remembrance Duplicity of the Image Spacing the Image Tractive Imagination The Elemental Temporalities Proprieties Poetic Imagination
In Politics, Money, and Persuasion, distinguished philosopher John Russon offers a new framework for interpreting Plato's The Republic. For Russon, Plato's work is about the distinctive nature of what it is to be a human being and, correspondingly, what is distinctive about the nature of human society. Russon focuses on the realities of our everyday experience to come to profoundly insightful assessments of our human realities: the nature of the city, the nature of knowledge, and the nature of human psychology. Russon's argument concentrates on the ambivalence of logos, which includes reflections on politics and philosophy and their place in human life, how humans have shaped the environment, our interactions with money, the economy, and the pursuit of the good in social and political systems. Politics, Money, and Persuasion offers a deeply personal but also practical kind of philosophical reading of Plato's classic text. It emphasizes the tight connection between the life of city and the life of the soul, demonstrating both the crucial role that human cognitive excellence and psychological health play in political and social life.
Working from newly available texts in Heidegger's Complete Works, Krzysztof Ziarek presents Heidegger at his most radical and demonstrates how the thinker's daring use of language is an integral part of his philosophical expression. Ziarek emphasizes the liberating potential of language as an event that discloses being and amplifies Heidegger's call for a transformative approach to poetry, power, and ultimately, philosophy.
In Reading Hegel's Phenomenology, John Russon uses the theme of reading to clarify the methods, premises, evidence, reasoning, and conclusions developed in Hegel's seminal text. Russon's approach facilitates comparing major sections and movements of the text, and demonstrates that each section of Phenomenology of Spirit stands independently in its focus on the themes of human experience. Along the way, Russon considers the rich relevance of Hegel's philosophy to understanding other key Western philosophers, such as Aristotle, Descartes, Kant, Husserl, Heidegger, and Derrida. Major themes include language, embodiment, desire, conscience, forgiveness, skepticism, law, ritual, multiculturalism, existentialism, deconstruction, and absolute knowing. An important companion to contemporary Hegel studies, this book will be of interest to all students of Hegel's philosophy.
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