This is one of the papers from our 2017 Annual Conference. Information and the full conference booklet can be found at www.britishphenomenology.org.uk
In The Origin of the Work of Art, Heidegger moves from the example of van Gogh’s painting of the peasant’s shoes to Meyer’s poem Roman Fountain. We are told that the painting is not merely a faithful representation of something present at hand but rather it reproduces the shoes in their essence. Next, Heidegger considers Meyer’s poem. He points out that although the poem is a fairly straightforward poetic description, it is not “a reproduction of the general essence of the Roman fountain.” It would seem that, in the poem, truth is set to work symbolically or metaphorically. However, for Heidegger, great poetry cannot be considered metaphoric because it transcends the sensuous/nonsensous dichotomy at the heart of Western metaphysics. Instead, we must say that the fountain in the poem ‘things’ or opens up the fourfold in a way that is different to the peasants shoes. Heidegger claims that in the technological age truth withdraws or things stop ‘thinging.’ Despite this, a good deal of contemporary poetry is preoccupied with things as metaphors, perhaps demonstrating Heidegger’s thesis that in the technological age the possibility of great art is threatened. This paper will show how Heidegger’s account can bring us towards a new understanding of contemporary poetry. This is worked out in terms of a pair of sunglasses as an example of a ‘thingless’ consumer object. If Heidegger’s account of technology warrants serious consideration, the question becomes do such objects have essences and if not how are contemporary poets to respond to them? The paper will consider the poem american sunglasses by Sam Riviere. It can be argued that sunglasses are enframed in the poem as there are no other options are open to the poet. In other words, what is the role of the poet in a time where essences withdraw?
Jakub Kowalewski - Levinas and the Deformalisation of Time
Anna Yampolskaya - Aesthetical experience as tranformative: Henry and Maldiney on Kandinsky
O. Bader and A. Peri-Bader - The Presence of Others and the Constitution of Extraordinary Architectural Space
Jonathan Tuckett - The Cartesian Meditation of Pneuma: the Dasein of a Video Game Character
Zeigam Azizov - A Temporal Order of Things: Husserl’s ‘temporal objects’ and the (Industrial) Temporalisation of Consciousness
Mariam Shah - Typical Criminals: A Schutzian Inspired Theoretical Framework Exploring Type Formation and Potential Application in Magistrate’s Courts in England
Niall Keane - Affective Demonstration and Speaking Communally: The Practice of Rhetoric
Lillian Wilde - The Minimal Self in the Face of Trauma: Practical Applications of Phenomenological Theory
Edmund O’Toole - Phenomenology and Psychiatry
Luis Aguiar de Sousa - The Lived Body as ‘Tacit Cogito’ in Merleau-Ponty’s Phenomenology of Perception
Mary Edwards - The Phenomenological Foundations of Sartre’s ‘Human-World Realism’
Matt Barnard - Two Concepts of Anxiety: Heidegger and Sartre on Freedom
Ashley Woodward - Lesson of Darkness: Phenomenology and Lyotard’s Aesthetics
Tanja Staehler – Phenomenology of Childbirth between Theory and Practice
Will Large – “Before language there is language”
Dan O’Hara – “Some Aesthetic Implications of McCarthy’s Conception of the Role of the Unconscious in the Evolution of Forms”
Julius Greve – “‘The Kekulé Problem’ in Cormac McCarthy’s Concept of Nature”
Matt Barnard – “The Silent Call: Heidegger and McCarthy on Talking to Yourself”
Katja Laug – “Kekulé, or McCarthy’s Physicality of Dreaming”
Chris Thornhill – “Language in Benjamin, Agamben and McCarthy.”
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