Theory,Culture & Society

Understanding is a ‘language event’ founded upon a ‘silent agreement’ between participants in a conversation. This silent agreement, built up of conversational aspects held in common, is what makes social solidarity possible and shows that the methods of science are an inappropriate starting point for our self-understanding. However, with the advent of industrial technical civilization, the question arises whether understanding has come under the control of a centrally steered communication system where language is a consciously wielded instrument of politics with a corresponding loss of free insight and critical judgement. Only via a hermeneutic logic of words, which begins from recognition that words get their meaning from the open space of living conversation, can critical judgement be defended in the face of the authority of science and technology.

Hermeneutics is a mantic art involved in the translation of the unintelligible into the intelligible. However, within modern contexts the term possesses a more methodological sense - ‘a universal doctrine for the interpretation of signs’. This conception of hermeneutics was given impetus during the Renaissance with the quest for theological objectivity, but it was with Schleiermacher and other philosophers of the Romantic movement that hermeneutics was viewed as a universal ‘dialogical’ condition. The Romantic conception of hermeneutics was psychologized by Dilthey and re-founded upon the principle of consciousness. With Heidegger became conceived as an ontological phenomenon identical to Existenz itself. For Gadamer, hermeneutics criticizes the ‘pale abstractions’ of Enlightenment conceptions of philosophy for neglecting the work of concepts in philosophy; concepts that have their origins in the self-critical communicative movement of human interpretation.

The arts, taken as whole, govern the metaphysical heritage of the western philosophical tradition. The arts possess absoluteness in that in the experience of art we recognize something as ‘aright’, as true. Art also possesses absoluteness because it transcends all historical differences between eras. Art - and philosophy - possess a contemporaneity in that they attune themselves to the present time. Art is thus not a refined pleasure but something that shows us a world that is there for itself and as such. The significance of art therefore cannot be understood aesthetically but only through Plato’s theory of ‘the exact’ and the Aristotelian conception of energeia as a motion without a path or a goal.

In this interview with Jean Grondin, Gadamer discusses the meaning ‘linguisticality’ and acknowledges his intellectual debt to Heidegger, Augustine, Vico and classical Greek philosophy. Heidegger’s influence on Gadamer can be seen in Gadamer’s awareness of pernicious ontological effects of the Latinization of European language, his awareness of the centrality of technology to the understanding of contemporary philosophical problems and the idea that ‘language speaks’. From Augustine, Gadamer derived his theory of the word as that which cannot be known and brought under control; from Vico the idea that language is rhetorical; and from classical philosophy the Aristotelian idea of phronesis and the Platonic idea that the idea of beauty is inseparable from the idea of the good. Gadamer concludes the interview with a discussion of the need for humanity to overcome its present fascination with technology.

This article presents Gadamer’s interest in temporality as his strategy for advancing hermeneutics as philosophy of experience, a strategy becoming significantly more salient with the appearance of his 1992 essay, ‘Wort und Bild’. I demonstrate how temporal categories readily demarcate the problem of ontological imbalance so central in Gadamer’s philosophical project, a demarcation that removes any illusion of compatibility between Gadamer and the hermeneutics of Paul Ricoeur. The article also considers some common misunderstandings of Gadamer resulting from a failure to take full account of his interest in temporality, misunderstandings that prohibit recognizing the radical potential of Gadamer’s hermeneutical philosophy for our understanding of human finitude. A full account of this orientation must begin with a grasp of the exemplariness of art in his philosophy, and in this connection, the article raises the question of Gadamer’s late interest in the distinct exemplariness, not of lyric poetry, but of narrative art.

This article argues that contemporary space exploration, in producing visual representations of the planetary Earth for terrestrial consumption, has engendered a shift in the way the Earth - as terra firma - is both experienced and conceived. The article goes on to suggest that this shift is a key, but still largely tacit presupposition, underlying contemporary discourses on globalization and cultural cosmopolitanization. However, a close reading of some of the texts that make up the canon of 20th-century European philosophy shows that this idea of a ‘deterritorialized’ planetary Earth challenges some basic presuppositions of that canon: especially its use of the pre-reflective experience of terra firma as a tropic site of intological and normative grounds. This article examines the way in which contemporary Western European philosophy - and intellectual culture generally - has responded to this challenge: and offers Deleuze and Guattari’s idea of the Earth as a ‘surface without territory’ as the most intellectually and ethically viable conception of the Earth in the age of ‘planetary deterritorialization’.