By Hugh J. Silverman
The amount starts off with a big assertion by means of the French feminist tradition critic Julia Kristeva and comprises essays by way of famous and likewise more youthful continental philosophers writing within the North American context and reassessing the eu background, its limits and powerful futures.
The way forward for postmodernism is classed by way of key issues: from the language of wish, the boundaries of illustration, and the revaluation of values, to the feminist rewriting of patriarchy and the serious archeology of deconstruction. Eighteen essays overview the postmodernist distinction inscribed in glossy philosophy. conventional issues and preoccupations--the topic, the desire, the physique, language, illustration, and metaphysics--are positioned in query via re-readings of rationalist, dialectical, psychoanalytic, aesthetic, and patriarchical values integrated into modernist considering. The figures of Nietzsche, Freud, Heidegger, Merleau-Ponty, Foucault, and Derrida are taken care of of their a number of features, and in terms of their significance for postmodernism in the continental philosophical framework.
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Extra resources for Postmodernism and Continental Philosophy (Selected Studies in Phenomenology and Existential Philosophy)
In the face of oppression, occupation, and human destruction everywhere, he offered an account of freedom. We are free. To be free meant to be able to choose even when it looked as though no choice were possible anywhere, where it seemed that contraint was the only possible interpretation of things. Sartre was not alone in this view. Malraux, Camus, and many others also called for political action, resistance, refusal to follow orders, to mould to the modernist view offered to them. With this refusal and theoretical account of freedom, it became possible to think of a philosophical, theoretical, and political practice based on rebellion, anti-self-reification, and ultimately choice and reaction.
To be modern was fundamentally to be new, à la mode, excitingly different. In this sense, the 1950s were not devoid of modernism. One might even say that there was new hope in novelty. But the character of novelty had changed. As Beckett's character in Malone Dies reports: "I must go on, I can't go on, I will go on . " The end of modernism would not mean that everything stops and the world comes to an end. Yet the fear of such a cataclysmic destruction was paramount in the 1960s. By contrast, however, there was as yet no way to think apocalypse without the postmodernist incision.
Thus, sounds and visible marks made by natural causality are not signs, Husserl did say, unless one takes nature to be a text written by a Creative Word and addressed to men. Page 27 The signifier, the sound uttered by a throat or the mark made by a hand, refers to some transcendent term, but it can do so, existential philosophy declared, because the lips and throat and lungs, and the arm and shoulder and torso, can support and mobilize this sign-production. There is not first a discharge of mere sounds or visual marks by the physiological mechanism, and then a Sinngebung operation that refers them to further terms; the assigning to them a reference is one with the shaping and issuing of them, and this is done with the whole posture, musculature, and nervous circuitry of the organism.