SUNY in Contemporary Continental Philosophy

A Death of the World offers a phenomenological description of what happens to the world for those who survive the death of someone. Bringing Jacques Derrida's works into conversation with the philosophies of Martin Heidegger, Emmanuel Levinas, Jean-Luc Marion, Maurice Blanchot, and Claude Romano; the poetry and literature of Paul Celan, W. H. Auden, Emily Dickinson, Ovid, and Jonathan Safran Foer; and psychological works concerning trauma, mourning, epigenetics, and memory, author Harris B. Bechtol provides interdisciplinary language for understanding the death of the other as an event. He argues that such death must be understood as an event because this death is more than just the loss of the other who has died insofar as the meaning of the world to and with this other is also lost. Such loss manifests itself through the transformations of both the spaces in which meaning takes place and the lived time of a survivor's world. These transformations of the world culminate in his account of workless mourning, which establishes the contours of the life after these deaths of the world.

This book begins with an unexplored and unanswered question that Martin Heidegger raises in a 1923 Freiburg course: "Problem: What is woman?" Yet, why should we care that Heidegger raises this "problem"? What could he, a member of the National Socialist Party, help feminists understand about responding to "the woman question"? How can Heidegger help us understand our own historical climate in which this question continues to hold significance? Jill Drouillard divides Heidegger's thought into two categories to think about the sexed/gendered experiences that coordinate our birth: (1) the one that suspends "the woman question" and that provides useful resources for thinking the fluidity of sex/gender, and (2) the one that provides a totalized reply to this query by manipulating tropes of the feminine to advance a politico-poetic project of Nazi politics. She uses Heidegger as a cautionary tale to demonstrate the harm that occurs when society tries to define the being (or "what is") of woman in any definite sense. In some chapters, she teases apart how Heidegger may have offered a reply to "the woman question" and, in others, shows what happens in today's society when law, bioethics, politics, and pedagogy reckon with this query.

Hans-Georg Gadamer was one of the greatest intellectual figures of the twentieth century. As a philosopher trained in phenomenology, he established philosophical hermeneutics as one of the leading traditions of contemporary philosophy and opened new paths for philosophical reflection. Within the many dimensions of Gadamer's vast, complex, and multifaceted thinking, a special role is played by the question concerning the relevance of the various arts and the centrality of aesthetic experience in human life. Despite being one of the most relevant voices of twentieth-century philosophy, Gadamer's hermeneutics has at times been overlooked in contemporary philosophical debates. The firm conviction at the basis of this volume is that Gadamer's thought is still relevant today, especially regarding aesthetic questions concerning the persistent meaning and truth of art in the age of what he called "the shadow of nihilism" and in the age of the so-called "end of art." In contrast to the claim that Gadamer's philosophy is "anti-modern," or allegedly "out of date" in comparison to other philosophical approaches to aesthetic questions, “Gadamer on Art and Aesthetic Experience” aims to show that a renewed and critical confrontation with Gadamer's aesthetic thinking can offer stimulating and penetrating insights to understand the role of art in contemporary society in all its transformations and its challenging manifestations.

Presented here is the first philosophical engagement with the pictorial work of Leonardo, seen as a systematic whole. It is not written from the point of view of an art historian, even as it tries to benefit from art historical insights and procedures, but that of contemporary continental philosophy and theories of modern artistic media. Author Eyal Peretz's main objective is to understand the historical and logical place Leonardo's paintings occupy in the transition from the age of medieval sacred images to Renaissance or early modern painting. Leonardo, Peretz argues, introduced a media revolution, which has still not been fully assimilated and understood. His "modernity" is still ahead of us. Written in a clear and engaging style, Messengers of Infinity, will appeal equally to Leonardo experts, experts in continental philosophy, and those who are experts in neither of these fields but have an intellectual curiosity about the historical and conceptual significance of Leonardo in particular and of modern painting in general.

A purely political understanding of justice does not convey the cosmological origins of the ancient conception of justice, Dikē, in Aeschylus's Oresteia. Drawing from Walter Burkert's anthropology of the hunt in Homo Necans, which articulates an ancient cosmology and implies a theory of (tragic) seriousness that parallels Aristotle's naturalist interpretation of tragedy, Hunting for Justice argues that justice is rooted in predation as exemplified by the Furies. Although the Oresteia has been read as the passage from the violence of nature to civic justice, Kalliopi Nikolopoulou offers an original interpretation of the trilogy: the ending of the feud is less an instance of political deliberation (as Hegel maintained), and more an instance of nature's necessary halting of its own destructiven'ess for life to resume. Extending to contemporary contexts, she argues that nature's arbitrariness continues to underpin our notions of justice, albeit in a distorted form. In this sense, Hunting for Justice offers a critique of the political infinitization and idealization of justice that permeates our current discourses of activism and social justice.