John Sallis – författare

"Transfigurements" develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare's comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a compelling new elaboration of the philosophy of art.

"Transfigurements" develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare's comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a compelling new elaboration of the philosophy of art.

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

"The Verge of Philosophy" is both an exploration of the limits of philosophy and a memorial for John Sallis' 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' 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 lay at the very heart of that friendship.

"The Verge of Philosophy" is both an exploration of the limits of philosophy and a memorial for John Sallis' 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' 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 lay at the very heart of that friendship.

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 represents the first sustained effort to relate Derrida's work to the Western philosophical tradition from Plato to Heidegger. Bringing together twelve essays by twelve leading Derridean philosophers and an important paper by Derrida previously unpublished in English, the collection retrieves the significance of deconstruction for philosophy.

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.

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.

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.

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.

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.

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.

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.

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.

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.

"[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 SchmidtWhat 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.

"[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 SchmidtWhat 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.

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.

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.

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.

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.

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.

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.

"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"Being and Logos is highly recommended for those who wish to learn how a thoughtful scholar approaches Platonic dialogues as well as for those who wish to consider a serious discussion of some basic themes in the dialogues." —The Academic Reviewer

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 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 MetaphysicsIn Chorology, John Sallis takes up one of the most enigmatic discoursesin 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.

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 MetaphysicsIn Chorology, John Sallis takes up one of the most enigmatic discoursesin 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.