Styles of Piety: Practicing Philosophy after the Death of God (Perspectives in Continental Philosophy)
Format: PDF / Kindle (mobi) / ePub
The last half century has seen both attempts to demythologize the idea of God into purely secular forces and the resurgence of the language of Godas indispensable to otherwise secular philosophers for describing experience. This volume asks whether pietymight be a sort of irreducible human problematic: functioning both inside and outside religion.S. Clark Buckner works in San Francisco as an artist, critic, and curator. He is the gallery director at Mission 17 and publishes regularly in Artweek and the San Francisco Bay Guardian. He has a Ph.D. in philosophy from Vanderbilt University. Matthew Statler is the Director of Research at the Imagination Lab Foundation in Lausanne, Switzerland. His current research is focused on practical wisdom as it pertains to organizational phenomena such as strategy making and leadership. He also has a Ph.D. in philosophy from Vanderbilt University.
began to call them into question by further examining the limits of reason in light of the concrete conditions of human life. Marx, for example, argued that philosophy both abstracts from and serves to deny the material conditions of social life. Contrary to Hegel, he argued that history is determined not by the unfolding of reason in the world, but rather by the material struggles of social classes, defined by their respective positions in the structure of the economy. Nietzsche similarly saw
become a meaningless game?18 To question why these questions are so familar is to act politically: when we ask what philosophy would do without the principle of noncontradiction, we call into question the currently accepted images of philosophy. This act of questioning confronts a simulacrum in which philosophy is paradoxically differentiated from itself. What is philosophy? How does philosophy become what it is? However we choose to answer this question, it may not even pertain to the event in
Speculative’’ is merely a dress rehearsal for an event that puts to the test the idea that Antigone is at once the most Greek and the most modern of tragedies. And the event has spawned another text. Spinning off on an angled trajectory from the performance, Sarah Kofman begins her review of the collaboration between Lacoue-Labarthe and Michel Deutsch, performed on June 15 and 30, 1978, in Strasbourg, by remarking on the ceremony, the ‘‘ritual’’ preparations of theatergoing: the architectural
conventions of theaters, the classical style of the stage, the evening dress of the spectators, in short, the traditions that facilitate catharsis: ‘‘When you go to the theater,’’ she says (in a remark that calls to mind Lacan’s observations to the contrary), ‘‘you come to find [a way] of ‘forgetting’, for the time of the spectacle, your daily cares.’’17 For Lacan, it is the reverse: ‘‘When you go to the theater in the evening, you are preoccupied by the affairs of the day, by the pen that you
Antigone boasts of the kleos she will gain by burying her own brother [α τ δελφον] and her act of daring is at first thought to be that of a man, with Creon asking when he first hears of the deed, ‘‘What man has dared to do this?’’ the deed is done without instruments, with hands that simply sprinkle dust,65 hands that are thus not only not masculine but hardly human hands at all. Working almost invisibly, bare and barely leaving a trace, Antigone’s hands are almost superhuman, supernatural,