Fusing speculative realism, analytical and linguistic philosophy this book theorises the fundamental impact the experience of reading has on us. In reading, language provides us with a world and meaning becomes perceptible. We can connect with another subjectivity, another place, another time. At its most extreme, reading changes our understanding of the world around us. Metanoia- meaning literally a change of mind or a conversion-refers to this kind of new way of seeing. To see the world in a new light is to accept that our thinking has been irrevocably transformed. How is that possible? And is it merely an intellectual process without any impact on the world outside our brains? Innovatively tackling these questions, this book mobilizes discussions from linguistics, literary theory, philosophy of language, and cognitive science. It re-articulates linguistic consciousness by underlining the poetic, creative moment of language and sheds light on the ability of language to transform not only our thinking but the world around us as well.

The contributions to Iconic Investigations deal with linguistic or literary aspects of language. While some studies analyze the cognitive structures of language, others pay close attention to the sounds of spoken language and the visual characteristics of written language. In addition this volume also contains studies of media types such as music and visual images that are integrated into the overall project to deepen the understanding of iconicity – the creation of meaning by way of similarity relations. Iconicity is a fundamental but relatively unexplored part of signification in language and other media types. During the last decades, the study of iconicity has emerged as a vital research area with far-reaching interdisciplinary scope and the volume should be of interest for students and researchers interested in scholarly fields such as semiotics, cognitive linguistics, conceptual metaphor studies, poetry, intermediality, and multimodality.

This volume addresses five different Dimensions of Iconicity. While some contributions examine the phonic dimensions of iconicity that are based on empirical, diachronic and theoretical work, others explore the function of similarity from a cognitive point of view. The section on multimodal dimensions takes into account philosophical, linguistic and literary perspectives in order to analyse, for example, the diagrammatic interplay of written texts and images. Contributions on performative dimensions of iconicity focus on Buddhist mantras, Hollywood films, and the dynamics of rhetorical structures in Shakespeare. Last but not least, the volume also addresses new ways of considering iconicity, including notational iconicity, the interplay of iconicity, ambiguity, interpretability, and the iconicity of literary analysis from a formal semanticist point of view.

Lacanian Psychoanalysis and American Literature considers the psychoanalytic applications of three classic works of nineteenth-century literature, applying Lacanian concepts throughout. Moncayo imports the dynamisms and texture of three English and American stories with the aim of developing psychoanalytic theory, rather than simply confirming or applying previously adopted psychoanalytic concepts and theory. The author begins with The Purloined Letter by Edgar Allan Poe, assessing the differences between Derrida and Lacan’s analysis of this famous story. The book then considers The Turn of the Screw by Henry James, using James’ text for an in-depth analysis of Lacan’s Seminar on the Logic of the Fantasy, and Wuthering Heights by Emily Brontë, considering "passage à l'acte," and the objet a as the Wind and Heart of the Signifier. The authors use Lacan’s later theories to cast a new interpretative light on the stories, much as Lacan himself did with the work of James Joyce. Lacanian Psychoanalysis and American Literature will be of interest to academics and scholars of literary studies, psychoanalytic and Lacanian studies and Philosophy.

§ 1. Remarks on the Current Status of the Problematic. The literature treating the relationship between the phenomenologies of Husserl and Heidegger has not been kind to Husserl. Heidegger's "devastating" phenomenologically ontological critique of traditional epistemology and ontology, advanced under the rubric of "fundamental ontology" in Being and Time, has almost been universallyl received, despite the paucity of its references to Husserl, as sounding the death knell for Husserl's original formulation of phenomenology. The recent publication of Heidegger's lectures from the period surrounding his composition of Being and Time, lectures that contain detailed references and critical analyses of Husserl's phenomenology, and which, in the words of one respected commentator, Rudolf Bernet, "offer at long last, insight into the principal sources of fundamental ontology,"2 will, if 3 the conclusions reached by the same commentator are any indication, serve only to reinforce the perception of Heidegger's phenomenological /I superiority" over Husserl. This is not to suggest that the tendency toward Heidegger partisan ship in the literature treating the relationship of his phenomenology to Husserl's has its basis in extra-philosophical or extra-phenome nological concerns and considerations. Rather, it is to draw attention to the undeniable 'fact' that Heidegger's reformulation of Husserl's phenomenology has cast a "spell" over all subsequent discussions of the basic problems and issues involved in what has become known as their "controversy.

The Blackwell Companion to Heidegger is a complete guide to the work and thought of Martin Heidegger, one of the most influential philosophers of the twentieth century. Considers the most important elements of Heidegger’s intellectual biography, including his notorious involvement with National Socialism Provides a systematic and comprehensive exploration of Heidegger’s work One of the few books on Heidegger to cover his later work as well as Being and Time Includes key critical responses to Heidegger’s philosophy Contributors include many of the leading interpreters of, and commentators on, the work of Heidegger

The Sense of Semblance is the first book to incorporate contemporary analytic philosophy in interpretations of art and architecture, literature, and film about the Holocaust. The book's principal aim is to move beyond the familiar debates surrounding postmodernism by demonstrating the usefulness of alternative theories of meaning and understanding from the Anglophone analytic tradition. The book takes as its starting point the claim that Holocaust artworks must fulfill at least two specific yet potentially reciprocally countervailing desiderata: they must meet aesthetic criteria (lest they be, say, merely historical documents) and they must meet historical criteria (they must accurately represent the Holocaust, lest they be merely artworks). I locate this problematic within the tradition of philosophical aesthetics, as a version of the conflict between aesthetic autonomy and aesthetic heteronomy, and claim that Theodor W. Adorno's "dialectic of aesthetic semblance" describes the normative demand that a successful artwork maintain a dynamic tension between these dual desiderata. While working within a framework inspired by Adorno, the book further claims that certain concepts and lines of reasoning from contemporary philosophy best explicate how individual artworks fulfill these dual desiderata, including the causal theory of names, the philosophy of tacit knowledge, analytic philosophy of quotation, Sartre's theory of the imaginary, work in the epistemology of testimony, and Walter Benjamin's theory of dialectical images. Individual chapters provide close readings of lyric poetry by Paul Celan (including a critique of Derridean deconstruction), Holocaust memorials in Berlin, texts by the Austrian quotational artist Heimrad Bäcker, Claude Lanzmann's film Shoah and Art Spiegelman's graphic novel Maus. The result is a set of interpretations of Holocaust artworks that, in their precision, specificity and clarity, inaugurate a dialogue between contemporary analytic philosophy and contemporary art.

"What is the meaning of being?" This is the central question of Martin Heidegger's profoundly important work, in which the great philosopher seeks to explain the basic problems of existence. A central influence on later philosophy, literature, art, and criticism—as well as existentialism and much of postmodern thought—Being and Time forever changed the intellectual map of the modern world. As Richard Rorty wrote in the New York Times Book Review, "You cannot read most of the important thinkers of recent times without taking Heidegger's thought into account." This first paperback edition of John Macquarrie and Edward Robinson's definitive translation also features a new foreword by Heidegger scholar Taylor Carman.

The 'free will' debate has been an issue of serious and significant tension in the history of ‘Western’ philosophy. For Martin Heidegger and Jean-Paul Sartre, debate has been rendered intractable by a fundamental misunderstanding of the terms involved. This is exacerbated, they argue, by a failure to identify and adopt an appropriate methodological approach to the problem. In this respect and for both philosophers, this error in the free will debate is symptomatic of a broader misunderstanding of philosophical enquiry as such and the method it necessitates. For Heidegger, the entire history of ‘Analytic/Western’ ontology has been fatally misconceived as a result of an effort to define the being of entities in static terms. The insistence on framing questions in respect of whether/what a being ‘is’ thus obstructs any meaningful enquiry by conceding existence at the outset of the investigation. He demands nothing less than the ‘destruction’ of that framework as a necessary step towards a radical account of freedom as a necessary feature of human experience. Sartre’s project is founded on Heidegger’s argument though he is critical of what he considers the ethical ambiguities inherent to Heidegger’s account of Dasein. Instead, Sartre pushes the premises of Heidegger’s project into a definitive claim about the nature of consciousness. Therein he argues that as the only being for whom ‘meaning’ is possible, consciousness is distanced from beings by ‘nothingness’ which ensures its ontological freedom. We propose that a thorough investigation of their projects will reveal an account of ontological freedom that does not suffer from the shortcomings of Sartrean existentialism whilst avoiding the methodological missteps of the traditional discourse. Moreover, we will suggest that overcoming Heidegger’s ambiguities can be achieved by advancing his concerns into an interrogation of the ground of Dasein and its ontological priority. Thus we can satisfy Sartre’s criticism while reinforcing the commitment to a radically different approach to philosophical enquiry. Our investigation will argue that although Sartre has misconstrued Heidegger’s work, making comprehension of his freedom all the more complicated, an argument persists which sheds new light on a seemingly stubborn philosophical problem. In so doing, a challenge will be presented to some of the fundamental premises of modern philosophical discourse, promising to reorient the approach to enquiry as such.

Language and History in Theodor W. Adorno's Notes to Literature explores Adorno’s essays on literature as an independent contribution to his aesthetics with an emphasis on his theory and practice of literary interpretation. Essential to Adorno’s essays is his unorthodox treatment of language and history and his elaboration of the links between the two. One of Adorno’s major but often-neglected claims is that truth is relative to its historical medium, language. Adorno persistently and creatively tries to narrow the gulf between truth and expression, philosophy and rhetoric, and his essays on literature are practical examples of his effort to critically rescue the rhetorical dimension of philosophy. Rather than relying exclusively on aesthetic concepts inherited from his predecessors in the Western tradition (Kant, Hegel, Nietzsche, Kierkegaard), Adorno’s essays seek to transgress and transcend the conceptual limitations of aesthetic discourse by appropriating a non-conceptual, metaphorical vocabulary borrowed from the literary texts he investigates. Thus, Adorno’s interpretations of literature mobilize an alternative subterranean, primarily essayistic and fragmentary discourse on language and history that eludes the categories that tend to predominate his thinking in his major work, Aesthetic Theory. This book puts forth the claim that Adorno’s essays on literature are of central relevance for an understanding of his aesthetics because they challenge the conceptual limitations of philosophical discourse.