Michael Naas: Class Acts: Derrida on the Public Stage, Fordham University Press, 2021

Class Acts: Derrida on the Public Stage Book Cover Class Acts: Derrida on the Public Stage
Perspectives in Continental Philosophy
Michael Naas
Fordham University Press
2021
Paperback $28.00
192

Adam Lovasz: Updating Bergson: A Philosophy of the Enduring Present, Lexington Books, 2021

Updating Bergson: A Philosophy of the Enduring Present Book Cover Updating Bergson: A Philosophy of the Enduring Present
Adam Lovasz
Lexington Books
2021
Hardback $120.00 • £92.00
332

Colby Dickinson, Hugh Miller, Kathleen McNutt (Eds.): The Challenge of God, Bloomsbury, 2021

The Challenge of God: Continental Philosophy and the Catholic Intellectual Tradition Book Cover The Challenge of God: Continental Philosophy and the Catholic Intellectual Tradition
Colby Dickinson, Hugh Miller, Kathleen McNutt (Eds.)
Bloomsbury
2021
Paperback $35.96
184

Gilles Deleuze: Letters and Other Texts

Gilles Deleuze: Letters and Other Texts Book Cover Gilles Deleuze: Letters and Other Texts
Gilles Deleuze. Edited by David Lapoujade. Translated by Ames Hodges
Semiotext(e)
2020
Paperback $19.95
312

Reviewed by: Ralf Gisinger (University of Vienna)

“Don’t think I am a compulsive letter writer or that I have a sense of dialogue. I hate it.”/ „Denken Sie nicht, ich sei ein gewissenhafter Briefeschreiber oder dass ich einen Sinn für Dialog habe. Ich hasse es.“ (72, an Gherasim Luca; Übers. RG)[1]

 

Die lange erwartete englische Übersetzung des 2015 im französischen Original erschienen Buchs Letters and Other Texts ist der dritte und letzte von David Lapoujade zusammengestellte bzw. herausgegebene Band mit posthum erschienen Sammlungen von Deleuze-Texten nach Die einsame Insel (2002) und Schizophrenie und Gesellschaft (2003).[2] Daneben existieren noch die zu Lebzeiten Deleuzes (1925-1995) von ihm selbst arrangierten Textkompilationen Unterhandlungen (1990) sowie Kritik und Klinik (1993).

Zum 20. Todesjahr Deleuzes publiziert, bietet der Band neben den Briefen vor allem schwer erhältliche sowie einzelne noch nicht erschienene Texte, aber auch ein längeres Interview (zusammen mit Félix Guattari) und 5 Zeichnungen von Deleuze. Während die beiden vorhergehenden Anthologien chronologisch und zeitbezogen strukturiert sind, kommt dem vorliegenden Band mehr die Rolle eines „Restbestands“ von noch unveröffentlichten (oder lange nicht verfügbaren) Schriften zu, wenngleich dies die Lektüre abwechslungsreich und immer wieder spannend gestaltet. Trotz der ausführlichen und gelehrsamen Einordnungen von Lapoujade (besonders in den Briefen) ist eine Kenntnis der Werkgeschichte von Deleuze eine Voraussetzung, um die tour de force an Zeitsprüngen und Textgenrewechseln inhaltlich mitzuvollziehen. Und doch liegen die Vorteile der kurzen Texte, wie schon in Die einsame Insel sowie Schizophrenie und Gesellschaft auf der Hand: in Briefen, Interviews oder Essays wird den schwierig verständlichen philosophischen Konzepten manchmal mehr Leben eingehaucht indem beispielhaft erklärt, pointiert zusammengefasst oder fast schon entstellend verkürzt wird. Sollten Die einsame Insel und Schizophrenie und Gesellschaft (aber auch Unterhandlungen), die damit schon seit über 15 Jahren fester Bestandteil des Forschungskorpus rund um Deleuze (und Guattari) sind, demensprechende Erwartungen an Letters and Other Texts geweckt haben, lässt sich dieser Anspruch natürlich nicht gänzlich erfüllen. Jedoch gibt es, neben tatsächlich eher belanglosen Briefen, immer wieder interessante Korrespondenzen (vor allem mit Guattari, Villani, Klossowski, Foucault oder Voeffray), die sowohl philosophische als auch allgemeine Einblicke in die Lebenswelt von Deleuze und seinen Adressaten über eine Zeitspanne von nahezu vier Jahrzehnten geben. Das Highlight des Buches ist sicher ein erstmals publiziertes gemeinsames Interview mit Guattari (geführt von Raymond Bellour im Frühjahr 1973) über den Anti-Ödipus (1972), aber auch die Unterlagen für einen „Course on Hume (1957-1958)“, der Einblicke in Deleuzes pädagogische Herangehensweise in Bezug auf Hume erlaubt, oder das zwar schon länger kursierende, aber erstmals seit 1946 wieder abgedruckte „From Christ to the Bourgeoisie“ empfehlen sich für eine durchaus lohnende Lektüre.

Der Anspruch auf Vollständigkeit der Edition von Deleuzes Schriften sowie die damit einhergehende Nachvollziehbarkeit, Auffindbarkeit und Übersetzung ist ein hoch zu schätzender Verdienst Lapoujades. Aus diesem Grund wird das „Patchwork“ bzw. der mangelnde rote Faden des Buchs nicht nur in Kauf genommen, sondern bildet sogar dessen notwendiges Grundgerüst, wird es eben als Ergänzung zu den bisher erschienenen Sammelbänden verstanden. Gleichzeitig muss konzediert werden, dass viele dieser Texte ohne den starken Aufschwung und die zunehmende Popularität von Deleuze in den letzten Jahren – insbesondere im englischsprachigen Raum – sonst wohl nicht nochmal abgedruckt worden wären

So reicht Letters in Bezug auf die Erschließung des Gesamtwerks (sowohl für die Deleuze-Forschung als auch zur allgemeinen Verständlichkeit von Deleuze und Guattari) nicht an die vorhergehenden Sammelsurien heran, die deutlich reichhaltigere Quellen an kurzen Texten in der Form von zumeist autorisierten Interviews, Zeitschriftenartikel, Gesprächen und Briefen, beinhalten, welche sich vor allem um zusätzliche Erläuterungen, konzise Zuspitzungen, konkrete Anwendungen oder Verteidigungen der eigenen Theorien drehen. Damit sind sie von herausragender Bedeutung, um die Intentionen, Abläufe und Prozesse von Deleuzes Denken und Schaffen nachzuvollziehen. Dafür wird mit dem Fokus auf Briefe eine persönlichere, ja geradezu private Ebene erschlossen (wobei stets in einem professionellen Rahmen verbleibend), die eine gewisse theoretische Kraft entfalten kann, auch wenn dies kritisch betrachtet werden sollte.

Das Buch ist in drei Teile gegliedert:

Der erste Teil beinhaltet Briefe an Félix Guattari, Michel Foucault, François Châtelet, Pierre Klossowski, Jean-Clet Martin, aber auch an außerhalb Frankreichs weniger bekannte Personen wie Jean Piel, Arnaud Villani, Alain Vinson, Clément Rosset, Elias Sanbar, André Bernold, Joseph Emmanuel Voeffray und Gherasim Luca. Dabei wurden einzig einige der Briefe an Arnaud Villani und Gherasim Luca sowie der erste an Alain Vinson vorher schon veröffentlicht.

Wie schon in den vorangegangen Textsammlungen bettet Lapoujade zu Beginn jeden der chronologisch geordneten Briefe in die jeweilige Zeit ein und gibt anderweitigen Kontext zu den Adressaten sowie zu Ereignissen, Umständen, Texten oder Personen, auf die in den Zuschriften referiert wird. Auch ein Namensindex am Ende des Buches leistet Hilfe bei Einordnung und Recherche. Leider befinden sich in der vorliegenden auf Englisch übersetzten Ausgabe in den Fußnoten einige kleine Fehler (z.B. 27; 29; 69 oder 97), die im französischen Original so nicht vorkommen.

Auch für langjährige Deleuze-Leser:innen dürften die 5 Zeichnungen überraschend anmuten (101ff.), die von Karl Flinker 1973 in einem Heft zu Foucault und Deleuze unter dem Titel „Faces et Surfaces“ [Seiten/Gesichter und Oberflächen] veröffentlicht wurden. Diesen Illustrationen folgen im zweiten Teil des Buches die „Other Texts“, diverse Texte, die entweder lange nicht verfügbar waren, zu unterschiedlichen Zeiten in Zeitungen beziehungsweise als Rezensionen oder noch gar nicht erschienen sind, was auf den „Course on Hume (1957-58)“ (119ff.) sowie ein Interview von Deleuze und Guattari mit Raymond Bellour (auf Vorschlag Foucaults) über den Anti-Ödipus (195ff.) zutrifft.

Des Weiteren sind im dritten Teil des Bandes fünf als „Jugendwerke“ deklarierte Schriften enthalten, die Deleuze zwischen seinem 20. und 22. Lebensjahr verfasst, allerdings später wieder zurückgezogen hat.

Wie im Titel programmatisch angekündigt, liegt das Hauptaugenmerk von Letters and Other Texts auf von Deleuze gesendeten Briefen, die zwar nach Personen chronologisch angeordnet sind, jedoch keine Antworten inkludieren, weshalb auch nicht von vollständigen Briefwechseln gesprochen werden kann. Dementsprechend erscheinen die Briefe trotz der ausgezeichneten Kontextualisierung Lapoujades teilweise zusammenhangslos beziehungsweise mit vielen Jahren Abstand. Gemäß dem Titel werde ich mich auch in folgender Rezension primär auf die Briefe konzentrieren.

Dass die im Buch versammelten Briefe keinen Anspruch auf Vollständigkeit erheben können, ist zwar evident, wird aber auch nicht explizit erwähnt. Lapoujade gesteht in der Einführung zu, dass die Briefe im Œuvre Deleuzes keine zentrale Rolle einnehmen, da Deleuze diesen keine Wichtigkeit einräumte und sie nicht als Teil oder Erläuterung seines Werks ansah (7). In dem Band sind ausschließlich von Deleuze geschriebene Briefe, nicht aber von den jeweiligen Adressaten enthalten – begründet wird dies damit, dass er keine Korrespondenzen aufbewahrte, wobei nicht ganz klar wird, ob vom Herausgeber eine solche Rekonstruktion von Briefwechseln überhaupt angestrebt wurde.

Es ist davon auszugehen, dass Deleuze außerdem die vollständige Veröffentlichung seiner Briefe nicht vorsah und wahrscheinlich auch nicht erwartet hätte, da er bei der Autorisierung (so etwa bei der auszugsweisen Publikation seines Briefs über Kant an Alain Vinson (17f.)) äußerste Zurückhaltung an den Tag legte. Die Diskussion um Deleuzes Verhältnis zu Briefen flammte posthum schon mit dem Nachruf Clameur de l’être (1997; Geschrei des Seins) von Alain Badiou (*1937) auf, in dem dieser nicht nur seine eigenwillige Interpretation von Deleuze niederschrieb („Metaphysik des Einen“), sondern freimütig sein (Nicht-)Verhältnis zu Deleuze aus seiner Sicht schildert, welches sich jedoch ausschließlich anhand des Narrativs von Badiou nachvollziehen und einschätzen lässt. Nach einer jahrzehntelangen Distanz und offenen (vornehmlich politisch induzierten) Kontroversen begannen die beiden Anfang der 1990er-Jahre einen kurzen, aber intensiven Briefwechsel über ihre theoretischen Divergenzen. Nach Badious Darstellung brach Deleuze, schon in seinen letzten Lebensjahren und durch Krankheit geschwächt, die Korrespondenz 1994 abrupt ab, teilte Badiou die Vernichtung der Briefe mit und verbat sich eine Veröffentlichung ebendieser (Badiou 2003, 14).

So interessant dieser Austausch für Wissenschaft und Öffentlichkeit wäre, wird Deleuzes Wunsch natürlich entsprochen und es finden sich keine Briefe an Badiou in Letters and Other Texts. Die beschriebene Episode wirft allerdings die Frage auf, nach welchen Kriterien die Briefe in Letters zusammengestellt wurden, was in dem Buch leider nicht ausgeführt wird: anhand der Verfügbarkeit und Zugänglichkeit oder des Ausbleibens eines dezidierten Veröffentlichungsverbot? Das editorische Problem, über keine Antworten der Empfänger zu verfügen, wird zwar in der Einleitung angesprochen, das moralische Problem der Veröffentlichung jedoch nur auf Deleuzes Frühwerke bezogen. Wenn Lapoujade in der Vorbemerkung Deleuzes allgemeines Verhältnis zu Briefen thematisiert, erkennt er zwar eine Ambivalenz an, lässt die Leser:innen aber nicht an weiteren Überlegungen zu diesem grundsätzlichen Dilemma teilhaben.

Ein ähnlich gelagertes Problem wie die Briefe betrifft die frühen Texte „Description of Women“ (1945), „From Christ to the Bourgeoisie“ (1946), „Words and Profiles“ (1946), „Mathesis, Science, and Philosophy“ (1946) sowie „Introduction to Diderot’s La Religieuse“ (1946), die vor 1953 erschienen sind, von Deleuze allerdings wie schon erwähnt später zurückgezogen wurden. Argumentiert wird dies durchaus überzeugend damit, dass diese (teilweise in veränderter/verfälschter Form) schon in Deleuze-Zirkeln kursiert seien und deshalb auf dieses Faktum nur mehr mit der Edition reagiert werden könne. Somit geht es Lapoujade und den Rechteinhaber:innen Fanny, Émilie Deleuze sowie Irène Lindon darum, eine autorisierte sowie originale Form dieser Texte zu gewährleisten. Die vorangestellte provisorische Bibliographie (11ff.) – von Deleuze wahrscheinlich 1989 erstellt – beginnt mit Empirismus und Subjektivität, seinem Hume-Buch 1953, was nicht einer gewissen Ironie entbehrt, wird somit die in Letters and Other Texts vollzogene Unterminierung der bewussten Auslassung seiner Frühschriften gleich von Anfang an ins Werk gesetzt.

Die Warnung, die Deleuze an Arnaud Villani 1981 ausspricht – „Don’t let me become an object of fascination or headache for you.” (80) – kann jedenfalls für die akademische Auseinandersetzung schon lange (zurecht) als überholt gelten. Mit dem vorliegenden Band dringt die Faszination in noch deutlich weitere Bereiche vor, die Deleuze selbst wahrscheinlich besagte Kopfschmerzen bereitet hätten. Obwohl Deleuze jungen Doktoranden in einer Mischung aus Bescheidenheit und Sorge um ihre universitäre Karriere rät, den Fokus ihrer Thesis nicht hauptsächlich auf ihn zu richten (an Villani, 80; an Voeffray, 91; an Martin, 94), nimmt er spätestens mit diesem Band einen Platz im historisierten Kanon ein, wo jedes jemals geschriebene (sowie gesprochene) Wort seziert und akademisch verwertet wird, was selbstredend auch auf den Autor dieser Zeilen zutrifft. Gerade die (immer auch, aber nicht nur) privaten Briefwechsel legen Zeugnis davon ab, wie sich die Deleuze-Rezeption diesbezüglich intensiviert und auch historisiert hat, sodass Letters nicht nur inhaltlich, sondern auch in der Form über die vorhergehenden Die einsame Insel und Schizophrenie und Gesellschaft hinausgeht. Deleuze formuliert in diesem Sinne an Joseph Emmanuel Voeffray reuevoll: “I should never have read a book on me at all.” (91).

Wie bereits ausgeführt, sah Deleuze das Medium „Brief“ einerseits nicht als übermäßig bedeutsam an, weshalb auch keine seiner empfangenen Zuschriften erhalten sind (denken wir an die vorher geschilderte Episode mit Badiou), andererseits auch nicht als eine Erweiterung seiner im Entstehen begriffenen Arbeiten, sondern entkoppelt von seinen Publikationen. Direkte, wenn auch kokettierende Verweise auf sein Verhältnis zu Briefen aus Letters and Other Texts sind etwa das eingangs zitierte: “Don’t think I am a compulsive letter writer or that I have a sense of dialogue. I hate it.” (72, an Gherasim Luca) oder an Pierre Klossowski: “I can no longer write a letter, it’s terrible. Effect of the solitude I nonetheless love.” (66)

Dies spiegelt sich zum Großteil auch in den Briefen selbst wider, die zwar spannende Einblicke in das Leben von Deleuze geben, so etwa in seine Lektüren, Aufenthaltsorte oder auch seinen Gesundheitszustand – dabei stets mehr beruflich als privat. Allerdings geht Deleuze in den Schreiben kaum philosophisch in die Tiefe oder gibt Erläuterungen für sein Werk bzw. seine Konzepte – mit faszinierenden Ausnahmen, auf die ich zurückkommen werde. Nur folgerichtig, wenn man bedenkt, was er Clément Rosset 1981 als Entschuldigung, Villani nicht in Paris getroffen zu haben, mitteilt: „[…] philosophical conversations are a pain” (23).

Begeben wir uns jedoch auf die Ebene der Entstehungskontexte, so ergeben sich interessante Zusammenhänge, von denen wiederum Rückschlüsse für andere Werke gezogen werden können.

So schreibt er im April 1968 an Jean Piel, dass ein Artikel zu Lewis Carroll derart den Rahmen von Umfang und Fragestellung sprenge, so dass es sich zu einem Buch entwickle (33). Betrachtet man das daraus entstandene Logik des Sinns (1969) unter dieser Voraussetzung als aus einem Text zu Carroll entstanden, lädt dies zu einer dementsprechend gewichteten Re-Lektüre durch diese Brille ein.

Der allgemeine Duktus der Schriften orientiert sich an einem Vorsatz, den er an François Châtelet im Jahr 1966 so formulierte: man benötige eine gewisse Wertschätzung um über etwas zu schreiben. So sei es ihm (Deleuze) lieber, gar nicht zu schreiben anstatt eines Verrisses (27). Diese Haltung scheint über weite Strecken auch in den Briefen durch, die geprägt von Höflichkeit, Anerkennung, Wertschätzung und Zuneigung sind, auch wenn dies sicherlich einer stilistischen Komponente geschuldet ist.

In den vorhergehenden Textsammlungen erschienen bereits Briefe, die in Letters nicht mehr aufgenommen wurden, so etwa an Jean-Clet Martin, Kuniichi Uno, Dionys Mascolo (Schizophrenie und Gesellschaft) sowie der „Brief an einen strengen Kritiker“/Michel Cressole  (Unterhandlungen), wobei insbesondere der Brief an Cressole (aber auch an Martin) durchaus eine Öffentlichkeit über den eigentlichen Empfänger hinaus adressiert – siehe auch den Verweis auf Cressole im Schreiben an Villani (77). Die Briefe ermöglichen einerseits die Erläuterung von schwer zu fassenden Begriffen [concepts] seiner Philosophie in einem einfacheren Stil, andererseits geben sie Innenansichten über Enstehungskontexte, Arbeitsweisen oder Methoden. In der Polemik gegen Cressole findet sich neben den Hinweisen auf seine philosophische Evolution etwa die berühmte Stelle über Deleuzes eigenes philosophisches Lesen und Produzieren, nämlich klassische Philosophen „von hinten zu nehmen“ und ihnen ein monströses Kind zu machen, das trotzdem ihres sei (Deleuze 1993, 15f.). Aber auch die Darstellung der ödipalen und repressiven Funktion der Philosophiegeschichte für das Denken stammt aus dem Schreiben an Cressole. Dagegen beleuchtet Deleuze in der Korrespondenz mit Uno besonders das Kennenlernen sowie die Zusammenarbeit mit Guattari in einer detaillierten Ausführlichkeit, wie sie sonst nicht bekannt wäre (Deleuze 2005, 223ff.). Und in dem Brief an Martin beschreibt er konzise die philosophische Operation der Begriffsschaffung [création], die sich stets am Konkreten zu orientieren habe, um erst von diesem zu Abstrakta vorzudringen (Deleuze 2005, 345).

Es ließe sich jedoch vermuten, dass die schon publizierten Briefe (in Unterhandlungen und Schizophrenie und Gesellschaft) inhaltlich begründet, d.h. aufgrund ihrer theoretischen Relevanz bereits in diesen Bänden erschienen sind, weshalb Letters and Other Texts ein wenig wie ein Residuum anmutet, wenngleich auch daraus wichtige und interessante Passagen für die Deleuze-Forschung zu extrahieren sind. Neben den bereits erwähnten Exzerpten sind dies vor allem:

  • Nachträgliche Werkeinordnungen, wie zum Beispiel in einem Brief an Arnaud Villani 1981, in dem Deleuze die Wichtigkeit seines Textes über den Strukturalismus (Deleuze 2005, 248ff.) sowie Teilen von Logik des Sinns relativiert, welche noch zu sehr der Psychoanalyse verhaftet bzw. in Bezug auf die Serien zu strukturalistisch gedacht seien (79).
  • Ein Schreiben an Joseph Emmanuel Voeffray 1982 primär über transzendentalen Empirismus (88f.), in dem Deleuze einen Bogen von den Problemen seiner Hauptwerke Ende der 1960er (Differenz und Wiederholung; Logik des Sinns) zu seiner aktuellen Beschäftigung (kurz nach Tausend Plateaus) spannt und besonders auf die stattgefundene Verschiebung zum Komplex „Abstrakte Maschine—Konkretes Gefüge“ verweist. Gleichzeitig deutet sich schon die Wiederaufnahme des transzendentalen Empirismus im Spätwerk an (89).
  • Die Selbstbezeichnung „pure metaphysician“ (78) aus einer Beantwortung von Fragen an Arnaud Villani 1980, die sich bereits zur Chiffre in der Deleuze-Forschung verselbständigt hat. Der Kontext dieser Charakterisierung liegt darin, den Schluss von Tausend Plateaus als Kategorientafel im Sinne Whiteheads (nicht Kants) zu verstehen (Deleuze/Guattari 1992, 695ff.). Im Anschluss an Bergson gehe es darum, den modernen Wissenschaften eine Metaphysik zu geben (78). Etwa in der Interpretation von Bonta/Protevi gelingt Deleuze (und Guattari) dies mit der Geophilosophie, allerdings beschreiben sie es als Deleuzes Ontologie, nicht als Metaphysik (Bonta/Protevi, 2006, viii).
  • Besagter Fragebogen von Villani, welcher allerdings zuvor schon in dessen Buch La Guêpe et l’orchidée (1999) erschienen ist, bietet auch sonst interessante Gesichtspunkte, so etwa die Philosophie als Wissenschaft zu klassifizieren, wenn sie die Bedingungen der Problematisierung bestimme (78).
  • Ausgesprochen informativ ist ein Verweis auf von Deleuze selbst ausgewählte kurze Textauszüge seiner Schriften (nur 2-10 Seiten) in einem Brief an Elias Sanbar im Jahre 1985 für eine Anthologie auf Arabisch (92f.). Ohne diese Selektion zu einem „Best-of“ erklären zu wollen, wirft sie ein Schlaglicht auf Passagen, die Deleuze selber (aus der Sicht von 1985) als essentiell oder paradigmatisch für sein Werk einstuft.

Besonders hervorzuheben ist ferner der Austausch mit Félix Guattari (1930-1992), Deleuzes langjährigem Freund („I also feel that we were friends before meeting“, 35) und Ko-Autor: „Es gibt nur ein Rhizom zwischen Félix und mir.“ (78; Übers. RG) Die beiden lernten sich im Frühjahr 1969 in der Region Limousin kennen und kurze Zeit später begann der erste Briefwechsel, welcher recht schnell den Beginn der Zusammenarbeit für den Anti-Ödipus (1972) einleitete. Die Briefe geben Einblicke in die erste Phase des Entstehungsprozesses des Anti-Ödipus, allerdings maximal als Ergänzung zu dem bereits 2006 erschienen, hauptsächlich auf Guattaris Beiträge fokussierten Buch The Anti-Œdipus Papers (hg. von Stéphane Nadaud), wo vornehmlich die Textentwicklung des Anti-Ödipus aufbereitet und dargestellt wird. Die in Letters gesammelten Briefe an Guattari (sicher nur ein Bruchteil der tatsächlichen Korrespondenz) zeigen jedoch darüber hinaus den Duktus und Ton der Kommunikation von Deleuze gegenüber Guattari – wie genau er dessen Texte ab ihrer ersten Begegnung 1969 liest und dessen Thesen (zum Beispiel den Maschinenbegriff) aufnimmt bzw. verarbeitet. Auch zwei Briefe im Rahmen der Vorbereitung für Tausend Plateaus sind im Buch enthalten, wozu bislang im Vergleich zum Anti-Ödipus deutlich weniger Quellenmaterial veröffentlicht wurde. Grenzwertig private Aufschlüsse ergeben sich aus einem dieser Briefe außerdem über die Art und Weise, wie bzw. über welches Medium die Auseinandersetzung mit den so genannten „Neuen Philosophen“ um Bernard-Henri Lévy Ende der 1970er Jahre am besten stattzufinden habe (51ff.).

Auch in anderen Briefen wird Guattari natürlich immer wieder Thema, so etwa im wiederholten Insistieren von Deleuze gegenüber Villani (immerhin im Abstand von drei Jahren), in dessen Texten bzw. Buch über Deleuze der Rolle von Guattari für die gemeinsamen Schriften zu seinem Recht zu verhelfen und diesem eine größere Relevanz für ihre gemeinsam erarbeiteten Konzepte einzuräumen (82; 84ff.). Deleuze stößt sich insbesondere an Villanis (verfehlter) Interpretation, Tausend Plateaus beruhe vornehmlich auf seiner Philosophie bzw. sei hauptsächlich von Deleuze verfasst.

Dies ist selbstredend eine der zentralen Fragen, die sich für die Deleuze&Guattari-Forschung in Bezug auf das rhizomatisch verflochtene Tandem stellt und die nach wie vor extensiv untersucht wird. Diesbezüglich ist wiederum eine Stelle aus dem Villani-Fragebogen von Interesse, in dem Deleuze bemerkt, dass die Mikro-Makro-Unterscheidung in Tausend Plateaus mehr von Guattari komme, wobei Deleuze die Unterscheidung zwischen zwei Typen von Mannigfaltigkeiten (die sich von seinem Bergson-Buch bis zu Tausend Plateaus mehr oder weniger durchzieht) dieser vorgelagert sieht und den Begriff der Mannigfaltigkeit [multiplicité] für wichtiger als die Mikrophysik (mehr ein Konzept Foucaults als Guattaris im Gegensatz zur Mikropolitik, Anm.) erachtet (79). Tausend Plateaus zeigt, wie diese verschiedenen Aspekte nebeneinander als Plateaus ko-existieren können, da einerseits die Mikro-Makro-Unterscheidung in diesem Werk ihre höchste Wichtigkeit erlangt (vor allem im 9. und 10. Plateau: „1933 — Mikropolitik und Segmentarität“ sowie „1730 — Intensiv-Werden, Tier-Werden, Unwahrnehmbar-Werden…“) und andererseits Deleuze/Guattari das gesamte Buch als „Theorie der Mannigfaltigkeiten“ (Deleuze/Guattari 1992, II) zusammenfassen.

Daran anschließend passt dazu das (neben den Briefen) meiner Ansicht nach zentrale Element des Buches – ein sehr ausführliches, aber auch aufschlussreiches Interview über den Anti-Ödipus mit Raymond Bellour, welches aber nie publiziert wurde, da es in der eigentlich angedachten Zeitschrift Les Temps modernes auf Intervention Guattaris aus politischen Gründen (wahrscheinlich die maoistische Prägung der Zeitschrift Anfang der 1970er) nicht erschien. Das Interview ist aus mehreren Gründen lesenswert sowie lehrreich:

1. Die Atmosphäre des Interviews schwankt zwischen locker-belustigt und angespannt. Besonders Guattari scheint von Bellours Fragen eher genervt zu sein („your question is lousy“, 200; „he’s going to say something stupid”, 205), was allerdings sowohl Guattari als auch Deleuze viele Erklärungen, Umschreibungen und Beispiele ihrer Thesen entlockt, die insbesondere für das Verständnis von Strömen [flux] oder ihrer Kritik an der familialen, reduktionistischen, ödipalen Psychoanalyse zugunsten eines sozialen und politischen Feldes gewinnbringend sind.

2. Wirft es ein Schlaglicht auf das Verhältnis von Deleuze und Guattari, ihrer (humorvollen) Kommunikation, gegenseitigen Vorlieben, aber auch Differenzen. So betritt Deleuze nach einem Telefongespräch wieder den Raum, worauf Guattari ihm mitteilt: „I said the opposite of what you said.“ Deleuze antwortet lapidar: “Good. Very good.” (231) Im Speziellen sticht der Fokus auf die politische Dimension hervor, die insbesondere Guattari immer wieder einbringt. Eine oft vorgetragene These, dass Guattari das Politische, wenn er es doch nicht in Deleuze hineintrage, so doch mehr zum Vorschein bringe und einfordere, zeigt sich in diesem Interview paradigmatisch.

3. Die starke bzw. umfassende Beschäftigung und Auseinandersetzung mit der Psychoanalyse, die Ende der 1960er/Anfang der 1970er noch eine viel breitere gesellschaftliche Rolle spielte. Noch vor dem Erscheinen über den Anti-Ödipus richtete Deleuze an Klossowski die Prognose: „either silence or war with psychoanalysts” (61) Auch in besagtem Interview vertreten Deleuze/Guattari ihre zentralen Thesen, wie etwa, dass das Begehren/der Wunsch [désir] nicht auf die Erfüllung eines Mangels zu reduzieren, sondern Produktion sei. Durch die beharrlichen Nachfragen Bellours entstehen bemerkenswerte (aber auch zugängliche) Passagen, beispielsweise die Forderung (sowie auch praktische Anwendung), konsequent in Strömen [flux], Intensitäten und Mannigfaltigkeiten zu denken und nicht einfach von präexistenten Fixpunkten (Subjekt/Objekt) auszugehen (200f.).

Zu guter Letzt geht es mir passenderweise um die Frage nach der Wirkung eines Buchs. Beklagt Deleuze im Interview 1973 noch den akademischen Aspekt des Anti-Ödipus als Ärgernis, wenn auch damit kokettierend (Guattari: „Exactly, it’s Gilles‘ fault.“ (208)), so klingt dies im Brief an Villani 1986, also 13 Jahre später, deutlich anders, man möchte sagen (wieder) deutlich akademischer. Deleuze nennt dem jungen Freund drei Aspekte, die ein existierenswertes Buch ausmachen sollten: In bisherigen Studien zum jeweiligen Thema 1. einen Fehler zu korrigieren (polemische Funktion), 2. etwas Übersehenes zum Vorschein bringen (erfinderische Funktion) sowie 3. einen Begriff [concept] zu schaffen (schöpferische Funktion). Interessanterweise steht dies in einem Spannungsverhältnis dazu, was Deleuze und Guattari im Anschluss an den Anti-Ödipus nicht müde werden zu betonen und auch im in Letters enthaltenen Interview immer wieder ansprechen (198f.; 207f.). So werden sie nicht müde zu betonen, das Buch nicht als Buch zu verstehen, sondern vornehmlich auf die (politischen) Effekte außerhalb und transversale Verbindungslinien abzuzielen sowie Äußerungsgefüge und Gefüge des Begehrens zu schaffen. Funktion des Buches sei dabei, nicht zu überzeugen, sondern abzuholen, wer die Psychoanalyse, aber auch das Subjekt, das Ego satthabe (207). Dass sich diese Hoffnung nicht erfüllen sollte, zeigt sich insbesondere in der Einschätzung im Vorwort zur italienischen Ausgabe von Tausend Plateaus. In einer seltenen Rückschau über die unterschiedliche Rezeption der zwei Bände ihres Opus magnum zu Kapitalismus und Schizophrenie ziehen sie Jahre später (1987) ein gänzlich anderes Fazit  noch im Interview 1973, weshalb ich ausführlicher zitiere: „Tausend Plateaus (1980) war die Fortsetzung des Anti-Ödipus (1972). Aber beide Bücher hatten objektiv ganz verschiedene Schicksale. Das lag sicherlich an den Umständen: die bewegte Zeit des einen, die noch unter dem Einfluß von 68 stand, und die Zeit der seichten flaute, der Gleichgültigkeit, in der das andere erschien. Tausend Plateaus ist von all unseren Büchern am schlechtesten aufgenommen worden. Wenn wir es dennoch besonders mögen, dann nicht so, wie eine Mutter ihr mißratenes Kind liebt. Der Anti-Ödipus war sehr erfolgreich, aber dieser Erfolg wurde von einem noch größeren Scheitern begleitet. Der Anti-Ödipus wollte auf die Verwüstungen Hinweisen, die Ödipus, das ‚Mama-Papa‘, in der Psychoanalyse, in der Psychiatrie und selbst in der Anti-Psychiatrie, in der Literaturkritik und im allgemeinen Bild, das man sich vom Denken macht, anrichtet. Wir haben davon geträumt, Ödipus den Garaus zu machen. Aber diese Aufgabe war zu groß für uns. Die Reaktion auf 68 hat gezeigt, wie stark Ödipus noch in der Familie war und wie er weiterhin in der Psychoanalyse, in der Literatur und überall im Denken sein Regime der kindlichen Weinerlichkeit ausübte. So blieb Ödipus für uns eine schwere Belastung. Tausend Plateaus hat uns dagegen, zumindest uns, trotz seines scheinbaren Mißerfolgs, einen Schritt weitergebracht und uns unbekannte und von Ödipus unberührte Gebiete entdecken lassen, die der Anti-Ödipus nur von ferne sehen konnte, ohne in sie vorzudringen.“ (Deleuze/Guattari 1992, I)

Auch in Letters reflektiert und resümiert Deleuze in einzelnen Passagen über intendierte, aber auch unerwünschte Effekte seiner Bücher. So bemerkt er in einem Brief an Voeffray (1983), dass die Schriften über Proust und Kafka keine Wirkung in seinem Sinne entfalteten (im Gegensatz zu dem Buch über Masoch). Indes waren Konzepte wie „Tier-Werden“ oder „Rhizom“ umgekehrt so erfolgreich, dass sie in einer Weise bar jeder Logik (!) verwendet wurden, die Guattari und ihn abstoße: „I sometimes feel like I’m being roasted by idiotic parasites.“ (91) – eine im Vergleich zum allgemeinen Duktus der Briefe seltene sprachliche Schärfe. Bei aller Kritik am vorliegenden Band könnte die nun vollständig vorliegende Edition der Schriften und Briefe im besten Falle einen Beitrag zum Schutz gegen idiotische Instrumentalisierungen von Deleuze liefern.

Wer darauf hofft, in Letters and Other Texts neue Theoriebausteine oder Verbindungslinien zu finden, welche fundamental andersartige Perspektiven auf und in Deleuzes Philosophie erschließen, muss enttäuscht werden. Das Buch beinhaltet jedoch wertvolle neu publizierte Texte und eröffnet in seiner Gesamtheit neue Ebenen, auf denen die Mannigfaltigkeit an deleuzianischen Strömen [flux] ineinander übergehen und sich verknüpfen lassen.

Bibliographie:

Badiou, Alain. 2003. Deleuze. »Das Geschrei des Seins«. Diaphanes: Zürich/Berlin [Deleuze. »La clameur de l’Etre«, 1997].

Bonta, Mark/ Protevi, Jon. 2006. Deleuze and Geophilosophy. A Guide and Glossary. Edinburgh University Press: Edinburgh [2004].

Deleuze, Gilles. 2020. Letters and Other Texts, hg. von David Lapoujade. Semiotext(e): South Pasadena [Lettres et autres textes, 2015].

Deleuze, Gilles/Guattari, Félix. 1977. Anti-Ödipus. Kapitalismus und Schizophrenie I. Suhrkamp: Frankfurt am Main [L’Anti-Œdipe, 1972].

Deleuze, Gilles/Guattari, Félix. 1992. Kapitalismus und Schizophrenie. Tausend Plateaus. Merve Verlag: Berlin [Mille plateaux. Capitalisme et schizophrénie, 1980].

Deleuze, Gilles. 1993. Logik des Sinns. Suhrkamp: Frankfurt am Main [Logique du sens, 1969].

Deleuze, Gilles. 1993. Unterhandlungen 1972-1990. Suhrkamp: Frankfurt am Main [Pourparlers 1972-1990, 1990].

Deleuze, Gilles. 1997. David Hume. Campus Verlag: Frankfurt am Main/New York [Empirisme et Subjectivité. Essai sur la nature humaine selon Hume, 1953].

Deleuze, Gilles. 2003. Die einsame Insel. Texte und Gespräche von 1953 bis 1974, hg. von David Lapoujade. Frankfurt am Main [L’ile déserte et autres textes. Textes et entretiens 1953-1974, 2002].

Deleuze, Gilles. 2005. Schizophrenie und Gesellschaft. Texte und Gespräche von 1975 bis 1995, hg. von David Lapoujade. Frankfurt am Main [Deux régimes de fous et autres textes (1975-1995), 2003].

Guattari, Félix. 2006. The Anti-Œdipus Papers, hg. von Stéphane Nadaud. New York [Écrits pour l‘Anti-Œdipe, 2005].


[1] Seitenzahlen ohne weitere Angabe referieren auf Letters and Other Texts (Deleuze 2020).

[2] Ich verwende in dieser Rezension, wenn vorhanden, die deutschen Übersetzungen, allerdings das jeweilige Ersterscheinungsjahr im Original.

Gilles Deleuze: Letters and Other Texts

Letters and Other Texts Book Cover Letters and Other Texts
Gilles Deleuze. Edited by David Lapoujade. Translated by Ames Hodges
Semiotext(e)
2020
Paperback $19.95
312

Reviewed by: James Cartlidge (Central European University, Budapest/Vienna)

It is hard to overstate the effect Gilles Deleuze had (and continues to have) on academia. For someone who defined philosophy as the creation of concepts and devoted himself to the task so prolifically, it would surely be pleasing to him that people working in every corner of the human sciences have engaged with his creations. Deleuze’s philosophy is multi-faceted and complicated, but had a constant emphasis on thinking reality in its flux and becoming — and concepts are no exception. As Daniel Smith points out: “concepts are not eternal and timeless (true in all times and all places), but are created, invented, produced in response to shifting problematics”[i], and subject to change. Deleuze’s concepts have been given countless applications, developments, revisions, interpretations and reinterpretations, and they continue to resonate with many, philosophers and non-philosophers alike. Alas, Deleuze is no longer around to develop them himself, but the hive of activity around his work and the fascination it elicits for many shows no sign of abating. Two posthumous volumes of his work have appeared so far: Desert Islands and Other Texts and Two Regimes of Madness. Collected in them are numerous essays, interviews, conferences and other texts published in French between 1953 and 1995, which do not appear in any of Deleuze’s books. Letters and Other Texts is the third and final volume of this project. While it may not be as substantial as the previous two, the letters offer us a fascinating glimpse into Deleuze’s personality as a friend and academic, and there are some very interesting additions among the ‘other texts’. Academically speaking, those familiar with Deleuze’s work will find valuable resources for chronicling the development of some of his ideas, and the uninitiated will find useful texts to read alongside some of his major works – especially the long, hitherto-unpublished interview (with Guattari and Raymond Bellour) about Anti-Oedipus.

The book is structured into three parts, as David Lapoujade clarifies in his brief introduction:

  1. A set of letters addressed to different correspondents out of friendship or circumstance;
  2. A series of texts published or circulated during Deleuze’s life that were not included in the two previous volumes of posthumous texts;
  3. The four texts published before 1953 that Deleuze renounced although their publication can no longer be avoided. (7)

The book comes with some warnings. Many of these texts were either published but renounced later by Deleuze, or unintended for publication. Some of them he was thinking about publishing, but did not necessarily prepare them for it. There are texts here that are only being published at the wishes of his family, since they are being circulated containing errors and without authorization, and the letters (with one exception) were never intended for publication. Deleuze considered them to be private and not part of his work, even though he discusses his work in them. There are also significant gaps because Deleuze did not keep his mail – we do not have the responses of his correspondents, and many of the letters are not dated (though helpful approximations are made by Lapoujade). But these are only factors to bear in mind, and should not deter anyone from engaging with this valuable collection. From the perspective of studying his work and being interested in him as a human being, there are some brilliant pieces in here. Anyone familiar with the L’Abécédaire interview with Claire Parnet will know first-hand what an engaging and articulate speaker Deleuze was, and this also comes out in the letters (and the Anti-Oedipus interview). L’Abécédaire is essential viewing for those studying Deleuze because of its depth, breadth and brilliance, but also its relative straightforwardness compared to his published works. In Deleuze’s published work there is a commitment to the idea that a philosophical concept should not necessarily be easy to grasp, and must be wrestled with, thought about, thought about again, struggled to be comprehended. This is much less obvious in his interviews and letters, which are exceptionally clear and engaging, and nowhere near as much of a struggle to understand.

Let’s begin with the letters, and especially on the point of what they tell us about Deleuze as a person and professional. They are a very pleasant read, revealing Deleuze’s amiability at every turn and his deep admiration for his correspondents, especially Pierre Klossowski, Michel Foucault and the poet Gherasim Luca. From the perspective of his philosophical work and his intimate, most personal thoughts, they do not reveal too much – but there are some notable exceptions. Most of these correspondences are of a professional nature, and the minutiae of academic life found in them are charming. Apparently his course on cinema was his most worrying and difficult, which was a surprise to  him. (81) He didn’t seem to be a big fan of conferences or speaking at them — not entirely a surprise coming from someone who “insist[ed] that the activity of thought took place primarily in writing, and not in dialogue and discussion.”[ii] His two favourite parts of A Thousand Plateaus were the intimately-connected ‘Becoming-animal’ and ‘Refrain’ plateaus, which deal primarily with music and territorialization. (84) Dryly, he claimed (probably in 1970) that he’d “rather have another tuberculosis cavity than start over at Lyon.” (29) “This thesis pursues me as much as I pursue it” (31) he wrote to Jean Piel. To Guattari: “as usual, after my enthusiasm, doubt sets in.” (51) (Who hasn’t felt this way when writing a thesis at some point?) There are refreshing sections where Deleuze imparts advice on those that ask for it, like when Clement Rosset asks about writing his thesis (20-21), or Arnaud Villani considers writing about Deleuze.

Don’t let me become an object of fascination or a headache for you. I have seen cases of people who wanted to become the ‘disciple’ of someone and who definitely had as much talent as the ‘master’ but who ended up sterilized. It’s awful. […] You deserve much more than just being my commentator. (80)

There is one tension of significance to be found in the letters, and it also comes in the correspondence with Villani. The latter published a review of one of Deleuze and Guattari’s texts that substantially downplays Guattari’s role, much to Deleuze’s annoyance. Deleuze vehemently sticks up for Guattari in multiple letters: “remember that you have often taken my defence without me asking for it and here I am defending Felix who is not asking for it either.” (85) Many of these letters seem to show Deleuze to be self-effacing, often eschewing recognition and downplaying his achievements in favour of those he writes to, always giving credit where credit is due. Nevertheless, when the spotlight is directly on him, he takes it with grace: it is hard not to smile at his veritable elation at getting a positive review from Foucault, and how genuinely pleased he is with how he engages with his work: “I have both the impression that you understand me fully and that at the same time you have surpassed me. It’s a dream.” (68)

But what do the letters have to tell us about Deleuze’s philosophy? There are a few exchanges to look out for here. In a letter to Alain Vinson, for instance, Deleuze answers questions about Kant’s critical philosophy and his book on the subject. In the only portion of the letters that was published, Deleuze answers a questionnaire about his work sent by Arnaud Villani, where Deleuze’s well-known characterization of himself as “a pure metaphysician” (78) appears. Villani also asks Deleuze to summarise his disparate texts at some point, leading him to wonder if there is any kind of unity between them. His answer describes what he takes to be the three principal characteristics of any useful book, which might provide some readers with some guidance:

a book, if it deserves to exist, can be presented in three quick aspects: you do not write a «worthy» book unless: 1) you think that the books on the same subject or on a neighbouring subject fall into a type of overall error (polemical function of the book); 2) you think that something essential has been forgotten in relation to the subject (inventive function); 3) you believe yourself capable of creating a new concept (creative function). (86)

These aspects of his texts are exemplified later with some references to his books on Proust and Sacher-Masoch. (An essay on Sacher-Masoch is also included in the diverse texts.) Elsewhere, the letters to Jean Piel include some descriptions of the development of The Logic of Sense, and there is a very helpful and clear discussion of ‘transcendental empiricism’ in the letters to Joseph Emmanuel Voeffray.

But perhaps most important is the correspondence between Deleuze and Guattari, which mostly consists of discussions about the development of what would become their most well-known and well-read work: the two-volume Capitalism and Schizophrenia. Of especial interest are the letters about Anti-Oedipus, which contain early attempts to work out the exact direction and questions of their inquiry, and to formulate their concepts, such as ‘machine’. I would emphasize that seasoned students of Deleuze and Guattari may not find anything new or surprising here, but those struggling with the undeniable difficulty of reading Anti-Oedipus for the first time may find helpful the more concise and clear propositions about the aim of the text that appear in these letters. For instance:

as long as we think that economic structures only reach the unconscious through the intermediary of the family and Oedipus, we can’t even understand the problem […] what are the socioeconomic mechanisms capable of bearing directly on the unconscious? (37, 39)

In fact, Anti-Oedipus is probably the text that comes to the fore more than any other in Letters and Other Texts, owing not just to this correspondence, but the long interview conducted with Deleuze and Guattari by Raymond Bellour, which I will come to later.

I will not go into too much detail about the ‘writings of youth’, not only because Deleuze renounced them later on, but because they are not of as much interest as the letters and ‘diverse texts’. Suffice it to say that there are some early essays and book introductions here, including the first essay Deleuze published: ‘description of women’. It is understandable, given Deleuze’s later writings, why he distanced himself from work like this. Not to say that the essay is bad, or uninteresting, but it is of a completely different style and orientation than his mature philosophy. It clearly bears influence from Sartre and phenomenology, and is of a decidedly existentialist bent both in style and content, as passages like this show:

Major principle: things did not wait for me to have their meaning. Or at least, which comes to the same from a descriptive standpoint, I am not aware that they waited for me. Meaning is objectively inscribed in the thing: there is something tiring, and that is all. This big, round sun, this climbing road, this fatigue in the lower back. I do not have anything to do with it. I am not the one who is tired. I do not invent anything, I do not project anything, I do not bring anything into the world, I am nothing, not even a nothing, especially not: nothing more than an expression. I do not attach my little meanings onto things. The object does not have a meaning, it is its meaning. (254)

Again, this is by no means a poor essay, but the kind of work Deleuze would go on to do and the philosophers he would later most associate himself with are completely different. He goes on to criticise phenomenology and place importance on philosophers that were at the time not studied that much in France. Deleuze was working in a time where ‘the three Hs’ – Hegel, Husserl, Heidegger — were prevalent in French philosophy education. Deleuze eschewed this tradition and the major philosophy of the day (existentialism, Marxism, phenomenology) in favour of what he sometimes called the ‘minor’ history of philosophy, which he found more productive: Hume, Spinoza, Proust, Nietzsche, Bergson. Deleuze’s mature work would amount to a criticism of the movements, styles and philosophers he shows more allegiance to in his early essays  — but they are nonetheless of interest for the topics he discusses.

Philosophically and academically speaking, the ‘diverse texts’ are the best in this collection. Of interest are the two texts on Hume: a course Deleuze was thinking about publishing, and an essay submitted as part of his agrégation exam on the Dialogues Concerning Natural Religion – “undoubtedly the only example of real ‘dialogues’ in philosophy.” (183) Hume was a particularly important philosopher for Deleuze – his first book, Empiricism and Subjectivity, is devoted to the interpretation of his work, and anyone interested in tracing this aspect of Deleuze’s career will find much worth in these two texts. The course is excellent, but consists of notes that Deleuze would presumably have expanded on at length in class, so it reads very densely and can be difficult to connect the dots at times. The Dialogues text is much more polished, contains brief summarizations of some of the text’s key arguments and offers reflections on the significance of the Dialogues and their correct interpretation. Deleuze explains nicely how the problem of religious belief becomes a problem for Hume because of the consequences of his wider theory of knowledge:

Hume finds belief at the foundation of knowledge. At the base of knowledge, there is belief […] The problem of religious belief then takes on greater urgency because one can no longer appeal to the heterogeneity of the two domains, knowledge and faith. […] Since everything is belief, the question is knowing under what conditions a belief is legitimate and forms true knowledge. (184)

And he is absolutely strident on which character represents Hume (which is Philo):

There is […] a common interpretation that says Hume put some of his thought into each of the characters: it is an untenable interpretation because it neglects both the originality and the essential of the Dialogues, that they go entirely against the idea of natural religion. (184)

Also in the diverse texts is a short, remarkably positive book review of an ethnographic text by Pierre Clastres, a French anthropologist Deleuze admired greatly and whose importance in relation to Deleuze and Guattari is perhaps underappreciated. Clastres is cited approvingly a couple of times in Anti-Oedipus but referenced more often and substantially in A Thousand Plateaus, which appeared three years after his untimely death in 1977. Part of the ‘war machine’ plateau is written as a tribute to his memory and makes use of his fascinating work on the Guayaki Indians, and his anti-evolutionary theory of so-called ‘primitive societies’, expressed by Deleuze and Guattari as follows:

Societies termed primitive are not societies without a State, in the sense that they failed to reach a certain stage, but are counter-State societies organizing mechanisms that ward off the State-form, which make its crystallization impossible.[iii]

The reason so-called primitive societies don’t have a state, on Clastres’ account, is because they put mechanisms in place to make sure it never arises, as though they unconsciously ‘saw’ ahead of time that this would be necessary. Given the power that Clastres’ ideas seemed to have for Deleuze and Guattari, it is interesting to see Deleuze engage with Clastres’ ethnographic text. He describes his style as one which “attains an ever-increasing sobriety that intensifies its effect and turns this book, page after page, into a masterpiece. […] In truth, it is a new ethnography, with love, humour, and procedures formed on location.” (192-193) Though the review was published in 1972, there are parts which arguably seem to anticipate the language of ‘lines of flight’ and ‘rhizomatic connections’ that would feature more heavily in A Thousand Plateaus, such as when Deleuze is describing Clastres’ method:

He enters his tribe from any direction. And there he follows the first line of conjunction that presents itself to him: what beings and what things do the Guayaki place in conjunction? He follows this line to the point where, precisely, these beings or things diverge, even if they form other conjunctions…etc. Example: there is a first line «manhunter-forest-bow-animal killed»; then a disjunction woman-bow (the woman should not touch the bow); from which a new conjunction «woman-basket-campsite…» starts; another disjunction «hunters-produce» (the hunter should not consume his products himself, in other words the animals he has killed); then another conjunction (hunter alliance-food prohibition, matrimonial alliance-incest prohibition). (193)

Clastres was clearly an influence on Deleuze and Guattari to some extent, though exactly how influential is unclear. But Deleuze’s review of Clastres, despite its brevity, is a welcome addition to the English translations of his work because it highlights an interesting (and perhaps underappreciated) intellectual, and his connection with Deleuze’s philosophy.

But the most substantial text to be found in this collection, from a scholarly viewpoint, is the Anti-Oedipus interview with Deleuze and Guattari, conducted by Raymond Bellour. Anti-Oedipus is the first volume of Capitalism and Schizophrenia (arguably Deleuze and Guattari’s most important text), so reading it is essential for anyone wanting to get to grips with their work. But reading it is a challenge for anyone: it is dense, bizarre and erudite in equal measure. The number of psychologists, philosophers, anthropologists and artists it refers to is dizzying. Concepts are often deployed without their meaning being explained — either until later or not at all. It seems determined to overwhelm the reader, confuse them and shatter their expectations of what an academic book on psychoanalysis is supposed to be. It is often ironic, makes plentiful use of foul language and takes delight in mocking its targets. It’s a brilliant text, but one that requires a lot of hard work on the part of the reader.

Some of the initial difficult to understand the main points of the book, and its arguments, can be lessened by reading this interview. It covers some of the book’s main points, the motivation behind it, the response it received, and includes some helpful questions from Bellour[iv] about the books central concept that provoke clarificatory responses from Deleuze and Guattari. They explain that the point of the book was to help a certain class of people for whom psychoanalysis, as traditionally practised, does not work.

There is a whole generation of young people in analysis, who are more or less stuck in analysis, who continue to go, who take it like a drug, a habit, a schedule and, at the same time, they have the feeling that it is not working, that there is a whole load of psychoanalytic bullshit. They have enough resistance to psychoanalysis to think against it, but at the same time, their thinking against it in terms that are still psychoanalytical. (195-196)

Deleuze and Guattari want to criticise and rethink psychoanalysis and the practise of therapy from the ground up. But doing this requires overcoming the psychoanalytic language and categories we are used to, which the authors attempt by deploying a cornucopia of new concepts. But their biggest targets, by far, are the dominant psychoanalytic conceptions of the unconscious and desire. They contend not only that these conceptions are wrong, but that they have been used to repress people and reinforce the capitalist hegemony. Desire and the unconscious contain great revolutionary potential which psychoanalysis, as usually practised, suppresses. The Bellour interview focusses more on desire, but the gist of their argument about the unconscious can be well illustrated by a quote they cite from D. H. Lawrence:

the unconscious contains nothing ideal, nothing in the least conceptual, and hence nothing in the least personal, since personality, like the ego, belongs to the conscious or mental-subjective self. So the first analyses are, or should be, so impersonal that the so-called human relations are not involved.[v]

Psychoanalysis mistreats the unconscious and obscures it because it conceives of it as ‘slightly-less-conscious’ rather than un-conscious and as a mere passive receptacle for repressed thoughts and drives. The crucial idea that motivates Anti-Oedipus —  as Foucault explains in the preface — is that we have been made to desire our own repression. The key to overcoming this is unlocking the potential of the unconscious as an active, productive machine through which desire flows.[vi] The flow of desire has been perverted such that people actually want to be oppressed, but if we could better understand the mechanisms by which this is possible, we can reprogram ourselves and begin to get out of this lamentable condition. Desire is suppressed when we treat it as a lack of something that one wants, it is rather an active force that flows through everything we do and produces our thoughts, behaviour and society itself.

One of Bellour’s strengths as an interviewer is that he, as Deleuze puts it, concertedly ‘plays the role of the simpleton’ (200). His questions and comments about desire are the sort that anyone would have on first hearing Deleuze and Guattari’s conception of desire, especially: why would we call this desire, when we always understand it in terms of lack? This provokes some helpful clarificatory responses from both authors. I have largely focussed on Deleuze here, but Guattari, though usually harder to understand, has moments of  exceptional clarity, such as when he expresses one of the key conceptions of  ourselves (that we have clear, well-defined identities) he and Deleuze are seeking to overturn.

It is an incredible illusion to think that people have an identity, are stuck to their professional function, father, mother, all that… They are completely lost and distressed. They flow. They put some shit on television, they look transfixed, caught in a constellation, but they are adjacent to a bunch of systems of intensity that run through them. You really must have a completely rationalist intellectual view to believe that there are well-built people who preserve their identity in a field. That’s a joke. All people are wanderers, nomads. (204-205)

Letters and Other Texts is the final part in a trilogy, the conclusion of an admirable project to bring the remainder of Deleuze’s texts to publication. It should be understood in context and read alongside Desert Islands and Two Regimes of Madness. Compared to the previous two volumes, Letters is much less substantial from an academic point of view, but there are still texts in here that will be of interest to Deleuzians of all stripes. In many ways, Letters is a fitting conclusion to the oeuvre of one of the 20th century’s greatest thinkers – in the letters, we see not just Deleuze the philosopher, but some of Deleuze the person: friendly, helpful, self-effacing, sincere, funny. Seasoned scholars probably won’t find much here that will be new to them, but students wanting to become familiar with Deleuze’s more difficult texts – especially Anti-Oedipus – will have a lot to go on here. Taken together as a unified project, Desert Islands, Two Regimes and Letters stand out as essential reading for anyone interested in Deleuze’s thought – and each has its place.


[i] Daniel W. Smith. 2020. «The Deleuzian Revolution: Ten Innovations in ‘Difference and Repetition.’» Deleuze and Guattari Studies, 14, Issue 1: pp. 34-49; p. 36.

[ii] Daniel Smith and John Protevi. 2020. «Gilles Deleuze.» The Stanford Encyclopedia of Philosophy (Spring 2020 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2020/entries/deleuze/>

[iii] Gilles Deleuze and Felix Guattari. 2019. A Thousand Plateaus: Capitalism and Schizophrenia (‘Apparatus of Capture’ plateau). Translated by Brian Massumi. Bloomsbury Academic: London/New York, p. 499.

[iv] Although Guattari certainly didn’t think they were helpful, and sometimes calls Bellour’s interventions ‘stupid’ and ‘lousy’.

[v] Gilles Deleuze and Felix Guattari. 2019. Capitalism and Schizophrenia: Anti-Oedipus. Translated by Robert Hurley, Mark Seem and Helen R. Lane. Bloomsbury Academic: London/New York, p. 139.

[vi] Deleuze and Guattari suggest that we see a glimpse of what a completely unfettered unconscious would look like in schizophrenia.

Lucilla Guidi, Thomas Rentsch (Eds.): Phenomenology as Performative Exercise

Phenomenology as Performative Exercise Book Cover Phenomenology as Performative Exercise
Studies in Contemporary Phenomenology, Volume 19
Lucilla Guidi, Thomas Rentsch (Eds.)
Brill
2020
Hardback €121.00
x, 236

Reviewed by: Thomas Arnold (University of Heidelberg)

The book is a whole divided into three parts, with the first part concerned with the performativity of phenomenology, the second with the phenomenology of performativity and the third with exercises in phenomenology. In this review, first I briefly discuss the volume as a whole. Then I focus on individual entries present in the volume, since they differ by topic and in quality. I conclude with some remarks.

I. Overview

The aim of the book is “to establish the first systematic connection between phenomenology and performativity” (1), which concerns both the performativity of phenomenology as well as the phenomenology of performativity (2). The third part of it “aims to sketch out three phenomenological exercises devoted to the constitution of contemporary performative phenomena” (7). The label “exercises” is somewhat misleading since all phenomenological inquiries are exercises in phenomenology. Moreover, all three essays in the exercise-section of the book are themselves phenomenological investigations into specific performances (as opposed to performativity in general), which thematically justifies their inclusion.

While we do get a promised look into the different ways in which phenomenology can be considered “performative,” I hold that the “transformation of attitude [performance] effects through a number of parallels between phenomenology and the ancient understanding of philosophy as an exercise and a way of life” (2) does not get enough attention. The specifics of this transformation do not seem to be discussed thoroughly enough in the book. How is the subject transformed exactly? From which state to what other state? Is subject-transformation desirable? Then again, this collection is just that: a collection – and therefore it cannot be expected to provide the same encompassing systematic reach a monograph might achieve.

What I liked in this volume was the systematic engagement with both historically close (Foucault, Derrida, a lot of Butler) as well as distant theories (e.g., Plato), which shows that phenomenologists are still interested in theoretical (as opposed to merely exegetical) issues and that we read and talk outside the boundaries of the phenomenological tradition, thus preventing conceptual in-breeding.

As I highlight later in this review, almost all papers contain more or less implicit assumptions about what phenomenology is and what it is supposed to do. If we follow some of the authors in this collection, it ought to be critical, active, transformative, not too intellectual or detached; yet there is not much open discussion about the foundations and justifications of these conceptions and I think this is a debate still waiting to happen – and one which can never really come to an end as long as philosophy demands radical justification for, of and by itself.

As far as I am concerned, paying close attention to how things appear (including texts) should still be the fundamental tenet of phenomenology, because that is how we adequately grasp things instead of just dealing with our own presuppositions and projections. As simple as this sounds, neither close attention (i.e. attention without prejudice, readily available formulae or random associations) nor the focus on the how of appearing (as against the what) are very well developed in our societies. And as Guidi points out, phenomenology is – in one sense – already “critical” inasmuch as it “draws our attention” (2) to sundry phenomena and their (contingent, problematic) modes of appearing, which for example include our naturalistic conceptions and inauthentic tendencies.

My final question however targets the subject and the object of these reflective operations. If we as phenomenologists are supposed to draw “our attention,” does this refer only to us phenomenologists or to us as simple humans? Put in the vocabulary of the present volume, who is supposed to be the benefactor of these phenomenological performances and exercises? And consequently, how should these exercises look? Should they be more academic exercises? More tentative theoretical acrobatics, language games within the same tedious vernacular, or maybe the umpteenth reading of Husserl’s descriptions of inner time consciousness? Or could they be more public exercises in reflecting on presuppositions and attending how things appear?

These questions are not trivial. For example, Husserl famously envisioned a social renewal centred around transcendental phenomenology. While I do not wish to advocate another attempt at healing (or bettering) the world through philosophy, I think phenomenologists are not in a bad position to contribute to what one might call “public philosophy”; especially since phenomenology is not a set of theorems or arguments or a doctrine one can extol, but a way of living, a way of looking, something we do and something we can train others to do too, maybe even to their (and our) advantage – a “performative exercise” indeed.

II. Review of Individual Entries

Dahlstrom characterises Heidegger’s phenomenology as performative insofar as it is obviously something we perform (as in: do), but mainly because “the phenomenologist’s philosophical act of understanding certain experiences entails carrying out the experience herself” (14). This leads him to the language used to prompt these re-enactments of experience – and to Heidegger’s reflection on the performativity of (phenomenological) language. Dahlstrom thus notes several concordances between Austin’s analyses of performatives and Heidegger’s early thoughts on language, especially on everyday performative discourse. Dahlstrom also mentions Heidegger’s engagement with authentic and inauthentic discourse as something that goes beyond Austin’s work.

In section two Dahlstrom deals with the phenomenological re-enactment (Vollzug) of experience in the sense of truth-proclamations. This touches upon the problem that phenomenological description does not simply mimic what it describes, but gives it “shape” (24). This is an example of  “Gestaltgebung” (24).[1] From here, Dahlstrom links Heidegger’s account of formal indication and its “existential-disclosive aspect” (26) to Searle’s take on performatives as creating linguistic facts. Dahlstrom ends on the observation that Heidegger’s account of speech acts is embedded in a much larger framework, while the speech act theorists focus more on specific issues and thus bring out more details, such that both could profit from each other (28).

From Dahlstrom’s considerations in section two, one might further question the function of re-enactment: why is it even necessary to “perform” experiences in phenomenology? And to what end? The repetition of experiences is necessary for our adequate grasp of what is given in experiences. Asserting without experience, i.e., asserting without direct contact to the things themselves, merely verbally, is what Husserl calls “empty” or even “inauthentic” discourse. How we perform our assertive acts is important because “empty” speech is phenomenologically worthless – hence the insistence on first-hand experience or, as Husserl calls it, “intuition.” Dahlstrom hints at the necessity of unpacking the distinction between authentic and inauthentic in Heidegger in FN 48. The end of all these efforts is ontological for Heidegger, for he is never interested simply in understanding experiences or even types of experiences for their own sake or in service of practical, “critical” projects. For Heidegger, questioning aims at something deeper: i.e., understanding being.

Legrand asks “What does happen if one practices an epochê without reduction?”(33). To arrive firstly at the fact that the epochê itself “is a performance of the subject” and that “the subject is performed by practicing the epochê,” the epochê becomes something specific to a suspension of judgement, a “suspension of anything that would prevent to work with what gives itself, as it is given, in the very field in which it is given.” (33-4, 40). Legrand sees Barthes practising a kind of epochȇ by suspending “that which makes his experience of the photograph ‘banal’” thereby also “suspending any narcissistic identifications with one’s mundane identity and normative identification with social roles” (36-7). In performing this bracketing, the subject shows itself to be certain without employing categories like “real” or “fictional”.

This allows Barthes to experience the “singularity” of the photograph, a singularity apparent just for him. However, the singularity for one is also singularity of one, an encounter between two singularities: “I am singular for the other” (37). Moreover, “the structure of singularity is not reflexivity but: the address of one to another” (38).  Arguably, then, one could describe this whole structure comprising the two singularities as reflexivity, given that the other reflects me onto myself (and vice versa).But the point seems to be that singularity requires more than individual reflection.

At any rate, Legrand fleshes out some of the differences between phenomenology and psychoanalysis and finds that the latter is decidedly non-transcendental, but still operates with a form of epochê. The psychoanalytic epochê consists in suspending the categories of the “correct, appropriate, relevant, interesting, true, or embarrassing, shameful, false, stupid, ridiculous etc.” (47) so as to “consider speech as Saying” (48) without judging the adequacy of the spoken to reality. The analyst instead listens with the presumption “that who I hear is irreducibly singular” (48). Following Legrand, in this act one would perform themselves as a singularity as well as the other. She offers the takeaway or insight that there are either different species of epochê or different paths to take, springing from the one epochê and leading to very different subjects/situations, depending on the mode and aim of the performance of the bracketing.

Cimino argues for deep agreements between Husserl and Plato. He begins by pointing out that Plato and Husserl agree on the fundamental nature of philosophy in regard to the other sciences. He fleshes out this distinction by drawing on a distinction between “discursive thinking and intuitive thinking” (53) as well as the necessity of other sciences “to rely on assumptions” (53) which philosophy questions; he then focusses on the former difference (56). I obviously agree with the general idea that Husserl and Plato are in accordance on central systematic issues (whether Husserl is aware of it or not); I disagree with Cimino’s more specific claim that they both endorse “the specific method of philosophy as inuitive thinking” (50).

For what could this “intuitive method” (56) even be? Firstly, what is intuition? As Cimino points out, self-givenness of any thematic object is fundamental to Plato and Husserl and both criticise mere verbal, i.e. non-intuitive speech. For both it “is rather the familiarity with the thing itself that produces real philosophical knowledge” (58) and when Cimino speaks of the “dialectical method” (57) he claims that “it entails the direct, first-hand grasp of essences or ideas” (57). To explain one metaphor through two others: intuition (for Cimino as well as for Plato and Husserl) is familiarity is first-hand grasp. Now can this be a “method” in and of itself? As Cimino himself says, the “dialectical method” “entails” it, which means it is not identical to it. And I venture it entails it because dialegesthai, literally “talking it through”, leads to what we have described as seeing, i.e. first-hand grasping. But the method, the way to go, is logical, it proceeds through logoi, through speeches, through questioning presuppositions, drawing out implications, discussing (varying) examples etc. Therefore intuition might either be a result or even a presupposition of Plato’s (and Husserl’s) philosophical method, but not a method in and of itself.

This has bearing on another issue, namely the intersubjective dimension of philosophy. In regard to this, what I hod to be a mistranslation of a passage from Plato’s 7th Letter is noteworthy. According to Cimino it states that insight appears “as a result of continued application to the subject itself”; however this passage ought to read that insight appears “in joint pursuit of the subject” (as translated by Morrow), since “synousia” means “being-together” and refers to the intersubjective dimension of philosophy, similar to “syzên”, “living together” in the very same sentence (one line further in 341d1). This being-together necessitates the logos as medium of philosophy since we cannot share intuitions directly. It is the intersubjective and reflective giving and taking of reasons which is the “method” of Platonic philosophy.

It is here, as I have argued,[2] that Husserlian phenomenology could benefit from a little more Platonism, given that some of Husserl’s own methodological characterisation of phenomenology turn it into a rather private, even solipsistic enterprise of inner monologue rather than the intersubjective endeavour he clearly wants it to be.

D’Angelo aims at establishing “four principles of every performance of phenomenological reading” (63) by reading and expanding on Gadamer’s reading of Plato’s Lysis. He sets out with highlighting that “phenomenology seems to happen mostly through texts and the interpretation of texts” (64); interestingly, D’Angelo does not call us (us phenomenologists that is) out on this (which he very well could and which Husserl would surely do), but rather asks “whether there is a distinctly phenomenological way of reading texts” (64) and claims that reading Husserl (for example) can still be a genuinely phenomenological exercise.

D’Angelo takes a basic principle from Gadamer, employs it (again) to the Lysis and then develops “four central moments of Plato’s theory of friendship which are, in my interpretation, at the same time four central moments of philosophy in general” (66). In a sense he performs a phenomenological reading to establish what a phenomenological reading is. These are the principles he wants to establish. First principle: There needs to be a “conjunction” of word and deed or attention to “the peculiar performance of a text” (76). For example, in the Lysis, “Socrates does things (erga) with words (logoi), by obtaining Lysis friendship through discourse.” (76) Were we to only focus on the explicit logoi, we would miss Plato’s enactment (in the sense of staging) of friendship, like Vlastos does, as D’Angelo contends (FN 19). The second principle D’Angelo gains from the fact that we are creating a logos about something for someone, which he translates into a principle of reading charitably, but also attending to the topic of the text itself, as to be able to criticise the text on its own terms. The third principle derives from the fact that “ignorance is a necessary component of philosophy” (74) and is basically a call to stay open-minded. The fourth principle reads: “There must be co-belonging, but also distance”, which implies a search for “common ground” (77). D’Angelo admits to a “feeling of triviality” (78) in regard to the principles listed, but points out that the triviality of these norms rather cements their validity while they are still continuously violated.

In reading D’Angelo’s account, two questions sprang to my mind: a) Why should we consider these principles to be especially “phenomenological”? b) Even if I happen to fully agree with his principles, where does their normativity stem from? Why should Gadamer or Plato (or their accordance) justify any principle for phenomenological reading whatsoever? An answer to both questions might lie in the phenomenological motto, since if we want to attend to the things themselves or let them show themselves as they are (be they texts or things or the world or…), we need to focus both on their explicit and implicit dimensions, apply categories of description not foreign to the phenomenon, stay open-minded and while attending the things themselves keep the appropriate descriptive distance.

Delving once again into the platonica, I have only a small gripe with how D’Angelo presents a basic Socratic tenet. Socrates’ principle is not “knowing only not to know” (69), as D’Angelo puts it, it is knowing when and if he does not know and abstaining from claiming such knowledge he does not possess (Apology 21d). In things of love and eidetic pregnancy, so to speak, Socrates always appears well-versed, indeed knowledgeable and proud of the fact. In the Symposium he even reveals his teacher in regard to these things, Diotima. Socrates knows that he knows of these things because he constantly proves to himself that he does, namely by performing his midwifery, i.e. dialectics. This does not however impede D’Angelo’s overall point that philosophy appears as the “in-between” (70) and as concerned with such.

Guidi focusses on the transformative dimension of phenomenology, which she then analyses in terms of the middle voice. Recalling the early Heidegger’s considerations about how understanding of formal indication requires a transformation on the side of the reader, Guidi concludes that phenomenological “speech is an enactment” (86), drawing the reader towards certain experiences, especially towards our thrown-ness: “Thus all phenomenological speech does is to indicate and address the very actual situation of the reader, by allowing her to experience the impossibility of founding that situation.” (85)

To conceptualise this enactment further, she draws on Benveniste’s analyses of the so called “middle voice”, which she claims opens “a topological perspective” (88), meaning that one can analyse actions as external or internal, the middle voice referring to a situation “where the agent is situated inside the process” (88), is “being affected” (89) in action. Guidi sees thinking according to Heidegger as exactly such an enactment, but denies its priority: “I claim that the ungrounded character of Dasein, the very same which phenomenology addresses in a performative way, opens up the ordinary and never fully accomplished task for every Dasein of transforming oneself and therefore relating to Dasein’s ungrounded facticity.” (90). Guidi then goes on to discuss four examples of middle-voice enactments, namely dialogue, expressing oneself, play and vulnerability, as analysed by Butler. She concludes with the conjecture that the “middle voice, by prompting the assumption of a topological perspective, may reveal the transformative potential of our ordinary comportments, and may further offer a new grammar for political action, one which is no longer founded on a sovereign account of subjectivity and agency” (96).

My main questions about Guidi’s account revolve around the notion of transformation. What transformation exactly are we talking about? And who has decided that it is to be the “task for every Dasein” (90)? The transformation involved in phenomenology is fairly specific and implies a shift away from “ordinary comportments”, not within or through it. This is why Husserl keeps writing introductions to phenomenology to explicate both the epochê as well as the reduction(s) in terms of a massive rupture with the natural attitude. Similarly for Heidegger; for while his philosophy certainly implies “acknowledging the ungrounded character of Dasein” (79), it also constitutes a radical break with the ordinary (even ordinary philosophy) towards fundamental ontology, the history of being or “thinking” in an eminent sense. Therefore I would be very interested in how exactly ordinary comportment transforms itself relating to Dasein’s ungrounded facticity without simply becoming philosophy, poetics or “thinking” – and how this transformation might be achieved. To be clear, this is not an ironic or rhetorical question, as I think it might really be better for everyone involved if more people acknowledged “the ungroundedness and the constitutive opacity” of our situation and acted accordingly. Could and should it be the “task” of philosophy to further this transformation?

Summa discusses the relation between performing and expressing, refuting Butler’s early claim that expression and performance are mutually exclusive, based on the assumptions that expression does not contribute to the constitution of what is expressed and presupposes a substantial subject (102). Instead, Summa offers a complementary account.

In the first section she sets out the false dichotomy between expression and performance. In the second section she discusses different notions of performance which inform current debates, namely Austin’s linguistic account of performatives and Turner’s cultural-anthroplogical account of ritual and the social drama. The common denominator Summa sees in “the accentuation of the productive and transformative power of the activity” (108) while pointing out that Turner’s concept is farther reaching, including the institution of norms and social identities through repetition – or their breaking. In the third section, Summa argues both that the “sincerity condition for the success of performative utterances” (112) cannot be understood apart from considerations of expression, and that expression itself is one way to exercise the power of institution as described by Merleau-Ponty. In each case, Summa shows that expression does not presuppose “the assumption of the subject as substance” (116). What is presupposed in but also formed by expression and acknowledgement, is experience. Moreover, any “expressive impulse emerges as a response to or a way to cope with some form of impasse within an already given order” and this presupposes an “embodied history of a style, which can itself become the object of modification, or écart, which will have an impact on our subsequent experience.” (118)

Summa’s contribution is both precisely argued and strategically interesting, as she, like Wehrle in her paper (see below), brings phenomenology systematically and critically into contact with concurrent theories, especially Butler’s. In doing so she disabuses us of certain common misconceptions about phenomenology, namely of being a subjectivist, pre-post-modern (i.e. modern) project. At the same time she actualises a transcendental line of questioning by elaborating on the conditions of possibility of expression and performance as well expression and performance as conditions of the possibility of subject-formation.

Wehrle contends “that Butler’s account of performativity as well as her ethics of precarity could profit from a phenomenologically-informed account of bodily performativity, which includes its passive and active aspects.” (126) She then explicates bodily performativity in terms of engagement: “as embodied, we are engaged with our environment and creative with regard to our relation with it. […] This relation, the performances of the body, so I want to argue here, have ontological relevance in that they can create real and lasting changes in situations, the environment and the bodies themselves.” (127) This “performative force of the body often goes unnoticed” (128), because it is usually anonymous.

While our bodies can actively perform, they can also be acted on, for example through bodily discipline, which Wehrle interprets as “forced or prefixed habituation” (130), be it through external forces or internalised norms. Thus bodies are normalised. Depending on the situation, the norms working on bodies and bodily behaviour are either experienced as comfortable (in case we conform to them) or uncomfortable (in case we do not conform to them) (132).

In dealing with these norms, Wehrle votes for a “pragmatic approach” according to which we do not simply abolish uncomfortable norms, but use the discomfort to enact the norms in “slighlty different ways”: changing their script so to speak, “thus integrating more possibilities and more possible subjects into it” (133). In fact, since no bodily act ever reproduces the underlying norms completely and since we (can) experience this discrepancy, Wehrle argues that we ought “regard embodied experience by itself as perfomative and, therefore, potentially subversive” (134) – like language. The starting point to any of these subversive acts is the “distance that is inherent to our very embodiment and experience”, namely that between being a body and having a body to which we can relate and which we ourselves can objectify, discovering “our ordinary ways of moving” (137) and lining them up for scrutiny – and consequently change through self-discipline, which Wehrle links with Foucault’s “care for the self”. She concludes: “In enacting norms, we thereby make them “real”, but always retain the capacity to transcend them.” (139)

As with parallel discussions in the realm of linguistic acts and norms, the next question – which can use Wehrle’s concise conceptual work as a starting point – would be how exactly this transcendence takes place, especially in extremis. For while it is easier to envisage how we can (bodily) transcend (bodily) norms in (more or less) free societies, it is harder to imagine how one can enact and subvert norms in, say, Guantanamo Bay or an Uighur internment camp. The enforced performances in such “Vocational Education and Training Centers” are exactly aimed at stopping any form of subversion, even to reduce fellow human beings to obedient bodies, collapsing the critical distinction between being and having a body.

Laner offers “(Post)Phenomenological Considerations of Contending Bodies” (140), taking Butler’s account of assembly and her criticism of Arendt’s perceived intellectualism as her starting point. She then goes on to develop a concept of “bodily forms of critique” (145), drawing on Merleau-Ponty and Ryle.

What then is “critique” and how can it be “bodily”, according to Laner? What are “performances of critique” (144) if not criticising? “Critique, as performed on a bodily level, […] means to question a situation not from a distanced perspective” (140), “critique” is about “altering” (142) a situation and attacking the norms inherent in it, indeed, critical “performances aim at transgressing such limitations” (143); “it is by means of bodily enactment that one takes a critical stance toward an existing system of norms” (146); “taking a critical stance on a bodily level can, in a very basic sense, be regarded as a form of bodily enactment that transgresses or subverts the existing norms.” (147) Bodily criticism is “a response to a given situation that does not affirm, but that questions the norms prefiguring our performances” (149). Such critical stances are performed by “[b]odies that claim to be recognized as free” (144) and it “it is the body that thinks and reflects” (151). Laner thus wants to overcome the “Dualistic characterisation” (144) of us humans as divided in body and mind.

In light of this aim it is odd that she a) constantly distinguishes between body and mind rather than focusing on the person as a whole but also b) keeps using mentalistic vocabulary to describe bodily actions. It is unclear why we should say that the body claims something, takes a stance or questions anything; surely it is the whole, embodied as well as minded person who performs all these acts? And does the difference between simply failing to properly enact a norm and subverting it reside in the body as opposed to the mind? Also having an “aim” (152) surely is something the person rather than the body ‘performs’? Even “performing intelligently” (153) in Ryle’s sense does not justify the term “bodily criticism” as Ryle himself says of a person or the “agent” that he does or does not exercise “criticism”, not of the body (as quoted by Laner on p. 153). So does Merleau-Ponty: the artist “questions perceptual norms” (155), as Laner says, not the artist’s body. Discovery and analysis are feats of the person as a minded entity, so why go back to the harsh duality of body and mind to then misapply these activities?

I do not advocate a view according to which “bodies are not able to perform critically, since their performances are understood in terms of necessary reaction” (145), but a view according to which criticality is an attribute of activities and dispositions of the whole person rather than one aspect. That is not to say that bodily performance cannot subvert norms, as Summa and Wehrle both establish very clearly (see above), but both successfully avoid forcing mentalistic vocabulary or dualism into their spelling out of the subversive possibilities of bodily engagement. Humans can question norms bodily, even by performing (or failing to perform) certain movements, yes. But why call this “bodily criticism”?

Then again, Laner also sees herself “questioning a notion of critique that underlines its merely rational nature and the distanced attitude it presupposes” (147) – a notion of critique she characterises as “trivial” and traces back to Kant. “Trivial notions of critique often refer to the etymology of the concept krinein, stressing its original meaning of discriminating. If critical performances are regarded as performances that simply detect differences and discriminate, critique seems to loose its normative impact.” (148) According to Laner it is also “clear that only a small elite even qualifies for critical engagement” (148) in this sense, although she does not say in which way it is so “clear”.

Firstly, where does the imperative of “normative impact” of critique come from? Or is that “simply” a presupposition? Secondly, as to the triviality of critique: the main aspect of “krinein” is to differentiate adequately, to detect a difference that makes a difference in a given context and to conceptualise it aptly – to “carve nature at the joints” as Plato has it (Phaidros 265e), A judge for example “simply” has to judge (discriminate) whether someone is guilty or not and what punishment is adequate. Critical thinking thus is not a passive “becoming aware of differences” or a bodily response of “detecting differences” (155), but actively seeking out differences according to certain criteria, employing conceptual skills. The ability to differentiate properly does therefore not seem “trivial” to me; or if it is “trivial” in the sense of belonging to the “trivium”, i.e. to any form of halfway proper education, it is not very well received – it certainly is not widely spread even within academia.

It is also arguably different from the drive or wish to change something one has previously identified (and thus differentiated from what it is not) as defective, which can follow acts of criticism but does not have to.

Regarding Kant, his notion of “Kritik” is very specific and concerns the possibility of metaphysics and the range of valid conclusions reason is allowed to draw (Critique of Pure Reason, A-Vorrede) and which is supposed to answer the question “How are synthetic a priori judgements possible?” – which is not what most people mean when they speak of the intellectual activity or disposition of being “critical”, presumably. Then again, in a more general understanding of a “critical” stance, Kant asks all of us (rather than a “small elite”, as Laner has it) to “dare to know”.

The connection between what Laner calls “trivial” as well as “non-bodily forms of critique” remains vague as she just says they are “somehow complementary”, since bodily critique relates “towards a matter from within”, whereas non-bodily critique supposedly operates “from outside the system” (156). Which is, again, highly problematic, given that the whole issue with Kant and post-Kantian idealism is the acute awareness that we are always “within”. There is no view from outside, no view from nowhere, no side-ways on view, no context-less context, no a-perspectival perspective etc. – pick your favourite “trivial” formula. Also, given that Kant talks mainly about theology, how is his critique not at least associated with “actual desires, affects and needs of the performer” (156)? Kant himself at least sees his critique as a matter of life and death after all – and lest we forget, with Plato, the proper critical, dialectical stance is the proper way to deal with death and the only worthy expression of Eros.

Laner’s divestment of critique from reflection is motivated by her concern about those unable to reflect as “they too deserve to be attributed the possibility of taking a critical stance.” (148) I am unsure who decides who is deserving, but surely the validity of attributions ought to rest on clean definitions rather than moral considerations?

Finally I think “postphenomenology” is an odd term in this context, since considerations about the “broader horizon of changing times, various cultures, political systems and power mechanisms shaping bodies as well as the diverse social roles attributed to them” (142) are well inside the range of phenomenological thought; after all, Husserl himself already conceives of a “historical apriori” (Krisis, 380) and takes the differences between “homeworld” and “otherworld” into account, as well as the cultural differences between say, Greek and non-Greek thought which sparked philosophy in the first place in his view. See Rentsch’s take on “situative contextuality” (164) in Husserl in the same volume (see below).[3]

Classical phenomenology always calls for a “Leitfaden” to any discussion, i.e. a given phenomenon from which the structure of interest can be lifted and analysed. This would have been very helpful in this case, since at least to me it is still very unclear what bodily critique is supposed to be.

Rentsch moves away from the body, towards the “transcendence of logos”, which refers to the “unavailability and withdrawal of the performative constitution of meaning, that is, its negativity”, i.e. “that which precedes and is outside of logos cannot be grasped or conceived of, except once again through linguistic forms.” (159) Rentsch situates this topic within the thematic range of the present volume by positing: “Linguistically, this transcending manifests in performativity” (167).

He proceeds from Wittgenstein’s silence at the end of the Tractatus and his subsequent practical turn, to Heidegger, Adorno’s constellation and Husserl’s passive synthesis, in all of which he sees attempts to conceptualise the unavailable performativity that constitutes meaning. Where Husserl is concerned, one might even go further than Rentsch in that not only the living present “does not exist as such, […] is unthinkable and unrepresentable” (166); the same holds for the ur-sphere and the “Urstand” therein, which is the form of subjectivity constituting all objects (Gegen-stand as opposed to Ur-stand) and which Husserl also considers to be no object in any way (cf. Bernauer Manuskripte 277) .

This line of thinking that certain structures are both “limits and ground” (167) of something can – again – be easily traced back to (at least) Plato, in whom the structuring principle always transcends whatever it structures, a thought that found its home at the heart of Neoplatonism, leading from Plotinus to Proclus on to the Florentine Academy, Cusanus and further. Rentsch can be read as analysing an instantiation of this very basic structure in its aspect concerning meaning and language, truth (161).

As with Platonic takes on the issue, one might ponder what exactly “inexplicability” (167) means in this context. After all, Rentsch asks us “to conceive of [the inexplicable conditions] as conditions of meaning” (167), thus conceptualising, explicating and expressing them, namely “as conditions”. The formerly non-thematic performance becomes thematic and thus loses its transcendence – otherwise it could not be object of inquiry.

In his conclusion he hints at ways in which “fundamental domains of the constitution of meaning on the life-world” (169) are affected by recent developments and mentions fake news, exchange trade, artificial intelligence in warfare and pornography. In all these cases he sees the irreducible and to some extent inexplicable basis of meaning-constitution under threat. The connection of these issues to his former elucidations of the performative withdrawal at the heart of meaning-constitution remains somewhat tentative however. He ends on an ethical note: “what is at stake is that we develop ways to take back […] and strengthen the critical faculty of judgement” (169) – and who would argue against that?

Slaby bridges a wide gap, “From Heidegger to Afro-Pessimism”. In this he aims at a “temporal account of affectivity” (173), specifically the “background affectivity” which permeats our being-in-the-world and which is shaped by “historical events” (174). Slaby wants to “revive” Heidegger’s take on the relation between affectivity and time “for the purpose of motivating and informing a critical phenomenology of affectivity” (174), where to be “in an affective state amounts to finding oneself “here”, at a particular juncture, confronted by what has been, what is factual, what has come to be so that we have no choice but to go on from here.” (175) Affectivity both discloses and occludes our situation, however. Slaby’s goal is thus partially critical, to “reveal layers of distrust, dishonesty and inauthenticity” (176).

He then draws on Fanon, Rankine and Coates (among others) to portray the affectivity of many black lives in the US, “constitutively placed on the brink of death” through the “violent appropriation of black lives” (179). He goes on to discuss Merleau-Ponty’s concept of social sedimentation as it impacts the body-schema, as well as Al-Saji’s and Ahmed’s contributions to phenomenology. It is here that the phenomenological meat of his approach lies as he establishes the connection between the historical (re-)embodiment of white privilege “in the spaces and operations of public institutions, and how it becomes manifest within affective modes of embodied being-in-the-world.” (186)

Slaby follows this with a look at Sharpe’s concept of the Wake (of the Middle Passage), which is both a factual condition as well as a mode of caring. He sees Wake work as similar to phenomenology in regard to the attention to the natural attitude (192; additionally he posits the condition of being in the Wake as a “Grundstimmung”, alongside the phenomenological favourites “anxiety” and “nausea” (192): “Living under the reign of capital is living in the Wake, still embodying, continuing, re-enacting this concrete history.” (192-3) – This is, of course, tricky terrain, since while capitalism affects non-black people as well, the Wake shapes black lives, especially in the USA, very differently from how it shapes the lives of white people; or – on average – white people are living in the Wake differently than black people.

The only point I do not quite understand in Slaby’s contribution is his criticism of aspiring to “evaluative” “detached neutrality” (194) as opposed to a stance which would “require practitioners to thoroughly situate their respective subject matters historically and to devise philosophical methods adequate to this task – methods that work performatively so as to crack open ossified formations of understanding and being.” (194) Again I am tempted to ask where the imperative to crack open anything stems from and why that cannot or should not be performed in a detached way. After all, even Husserl’s fairly detached way of philosophising always aimed at negating what he called ossification in order to get at the things themselves and renew society. And surely “neutrality” in this context simply means not to be unfair or prejudiced?

Kozel writes about her engagement with the works of the choreographer Margrét Guðjónsdóttir and states that “A phenomenology of affect affords a parallel between Guðjónsdóttir’s choreographic practices and Cambridge Analytica’s political manipulations”, namely as “choreographies of affect and somatic states”, in each case affective states being the “material” of the work in question. The difference for Kozel lies in the fact that in the former case, the “reflective process” is in play, while it is “missing from social media users’ attitudes” (205), as the reflective process is part of the choreographer’s work. The paper also contains a detailed description of the experience of viewing a piece by Guðjónsdóttir.

In terms of theory I could not find a definition for what she calls “hyper-reflection” (205). In general, Kozel’s idea of how and why we “do a phenomenology” (206) seems to be more practical than theoretical. Her description of the steps involved in doing “a” phenomenology sounds more like a form of mindfulness-meditation followed by a written account; to me it certainly seems further removed from traditional philosophical theorising than the other contributions – which in itself is not a reason to evaluate it negatively, of course.

Buongiorno’s paper deals with “digital performativity” in the sense of the “ways we act ourselves out” and “construct ourselves by means of digital artefacts” (214) After briefly sketching the differences in self-constitution brought on by digitalisation, drawing on work by Belk, Buongiorno discusses three phenomenological concepts, which he thinks will help to understand these new forms of self-constitution: a) epochê: this constitutes the distance necessary to do phenomenology, as is the case with Husserl, b) variation: our digitalised mediated experience can be conceptualised as variations of non-digital experience – “we may understand digital experiences as a virtual transposition of the contents of real experience” (222) and c) the flesh, which serves to undercut the discussion about disembodiment through digitalisation and its dualist presuppositions, in order to better understand digital “reembodiment”.

“Phenomenology” for Buongiorno is supposedly “far from being just a theory resorting to reflection and analysis” (220) but rather a “form-of-life” (221) – something no traditional phenomenologist would doubt, presumably. However the specifics of this form-of-life seem to me to rest exactly in “reflection and analysis”, as phenomenology both as a stance and an activity is based on turning our attention back (reflectere) towards conditions of possibility, towards conceptual structures and frames of mind, towards our constituting activities, ill-grounded presuppositions etc. and then carefully taking them apart (analyein) and explicating them in order to foster understanding.

III. Conclusion

As can be gleaned from my remarks, I am rather taken aback by some of the implicit or explicit disavowals of the ideals of earlier phenomenology, namely to strive for a differentiated, analytic, reflexive, neutral, i.e. theoretical account of the things themselves (including ourselves). This striving is itself already a performative as well as a transformative exercise and thus a way of life,[4] one which is sorely in need of proponents in my mind, since it implies a thoughtfulness and an understanding of our own presuppositions and (epistemic) limits which in turn are the bedrock both for reasonable political action as well as fruitful research. Temporal philosophical disengagement neither implies global (political) inactivity or a general disembodiment, yet only reflection can curb some of our more unproductive reflexes.

This reflection also ought to include the “ought”, as quite a few papers in the present collection simply assume certain norms or directives without either arguing for or at least describing the sources of their validity, which ought to be a problem for any radical, self-critical philosophy – as phenomenology traditionally purported to be.

Despite my critical remarks, most of the contributions to the volume qualify as solid academic performances, some are outstanding in clarity and concision. The volume as a whole shows (again) that current phenomenology is divers, well suited to place itself in a wider context and able to engage with other traditions and new topics. As the Guidi states in the introduction, “We wish [to] bring to light the mutual relation between phenomenology and performativity and set the ground for further exercises” (10). This it accomplishes very well.


[1]   Cf. Florian Arnold, Logik des Entwerfens (Paderborn, 2018) for an account of the connection between philosophy and design.

[2]  Thomas Arnold. 2017. Phänomenologie als Platonismus. Berlin/New York, §§ 22.

[3] See also Aldea’s take on the criticality of Husserlian phenomenology in: Smaranda Aldea, «Making Sense of Husserl’s Notion of Teleology: Normativity, Reason, Progress and Phenomenology as ‘Critique from Within’,» Hegel Bulletin 38/1 (2017): 104–128 and «Phenomenology as Critique: Teleological-Historical Reflection and Husserl’s Transcendental Eidetics,» Husserl Studies 31/1 (2016): 21–46.

[4] Cf. the locus classicus, Pierre Hadot. 1995. Philosophy as a Way of Life. Blackwell .

Edward Baring: Converts to the Real: Catholicism and the Making of Continental Philosophy

Converts to the Real: Catholicism and the Making of Continental Philosophy Book Cover Converts to the Real: Catholicism and the Making of Continental Philosophy
Edward Baring
Harvard University Press
2019
Hardback $49.95
504

Reviewed by: Elad Lapidot (University of Bern)

Is Catholicism a Religion?

Over the last decades, scholars have increasingly called into question the universal validity of the category “religion” as referring to a supposed ahistorical constant domain of all human mind and civilization, the domain of faith. The claim has characteristically been that, even though nowadays we often speak and think of religion this way, both in everyday life and in scholarship, in fact our notion of religion is a historical construct. This conceptual construct, so the claim, is fashioned after a specific cultural tradition, the Christian West, which, as part of obtaining or preserving its global epistemic hegemony, has asserted its own culture – Christianity – as a universal and superior feature of human nature as such: religion. Consequently, all cultures would have their religions: the Jewish, the Greek, the Chinese, the Indian, the Aztec, which could therefore be compared and evaluated in view of the underlying paradigm – and ultimate paragon – of religion, Christianity.

This sort of critique of religion is commonly deployed in postcolonial-like discourses, which confront the Christian West with its non-Christian others. Could the same critique apply within Christianity itself (West vs. East) or even within the Western? Wouldn’t the construct “religion” arise not only from a geo-political bias, i.e. the West, but also from a chrono-political bias, i.e. Modernity? And if so, wouldn’t it give effect and perpetuate a bias within the Christian West, namely in favor of modern Christianity, marked by Protestantism and Secularism, so as to undermine premodern, Catholic forms of Christian civilization? Is Catholicism a religion?

There is much in Baring’s intriguing new book to suggest that Catholicism is in fact not primarily a religion, but a philosophy, or even – philosophy. The main theme of the book is continental philosophy, whose center according to Baring is phenomenology. Its explicit concern is intellectual and institutional genealogy, “the Making of Continental Philosophy”, namely how a specific direction in 20th century philosophy, phenomenology, has been able to transform “from a provincial philosophy in southwest Germany into a movement that spanned Europe” (2), and so to become “continental”. Here and elsewhere in the book, Baring highlights the political significance of epistemic constellations, underlying the transnational, pan-European character of phenomenology as “continental” philosophy. His own historiography performatively turns away from national narratives (phenomenology in France, Husserl in Spain, Heidegger in Italy etc.) in search of a more transnational, universal ground. The movement that spread Husserl’s word among the nations (“the single most important explanation for the international success of phenomenology in the twentieth century”, 5), Baring suggests, is the one that goes under the name of the universal itself, the catholicos, Catholicism. Catholicism is the principal agent in this continental, transnational, catholic historiography of philosophy.

It is somewhat paradoxical that Baring’s professed transnational perspective nonetheless preliminary features phenomenology as belonging to “southwest Germany”, namely as originally particular, which accordingly begs the question of its continental success. According to this logic, this transnational success can only be accounted for by something beyond phenomenology itself, something more European, more universal, which would be Catholicism. However, in what sense would phenomenological philosophy itself not be sufficiently universal to account for its own universal spread? In what sense is Catholicism more obviously universal, and what explains its own international success, beyond the province of Rome?

Be that as it may, the notion of success, namely the ability of philosophy or thought, the ability of ideas, to obtain and expand their hold on the world, on reality, is central to Baring’s project. The primary transnational feature of Catholicism that the book foregrounds is its global institutional presence. Next to the transnational and universal, “catholic” historiographic perspective, Baring’s study accommodates Catholicism also in focusing on the worldly reality of the Church. The Catholicism that, as the book suggests, carried phenomenology across the continent is first and foremost a “network of philosophers and theologians that stretched across Europe” (7); “we can speak of ‘continental philosophy’ because phenomenology could tap into the networks of a Church that already operated on a continental scale” (11).

The story of “making” continental philosophy, as told in the book, is indeed concerned less with conceptual genealogy of ideas and more with how they spread. It’s a story of thought as an inter-personal, inter-institutional happening, where events of thinking take place between works, between thinkers. The great individual names of phenomenology – Husserl, Heidegger, Scheler, the “phenomenological trinity” Baring calls them (6) – are there, but they function as basic coordinates for describing the real plot, which is scholarship. Primary and secondary literatures switch here places. The main protagonists of this book are neither the great names nor the great book, but their less known scholarly recipients, the clerics, who read, translate, introduce, interpret, discuss and institutionalize ideas, convene conferences and found archives, journals and schools. Most importantly, and this is one of the great achievements of this book, the history of thought is told through formative debates, such that polemics – and with it politics – is posited at the heart of epistemology, a real at the heart of the ideal. Could polemics too – next to transnationalism and institutionalism – count as Catholic heritage?

At any event, Baring tells continental philosophy’s church history, and according to him the early church of phenomenology was Catholic. To quote some impressive facts:

“self-professed Catholic philosophers produced more than 40 percent of all books and articles on Husserl, Heidegger, and Scheler written in French, Italian, Spanish, Portuguese and Dutch in the period before World War II, making Catholic phenomenology by far the largest constituent part of the early European reception” (8-9);

“Within Europe, phenomenology has been most successful in Catholic countries, while tending to skip, at least at first, the Protestant strongholds of Scandinavia and the United Kingdom. Across the Atlantic, it has flourished in Latin America and at Catholic universities in the United States, such as Notre Dame, Boston College, DePaul, and Duquesne. The geography of phenomenology is best described, not by the contours of mainland Europe, but by the reach of the ‘universal Church’.” (11).

What is certain, in Baring’s account Catholicism does not just function as a contingent carrier of phenomenological philosophy, a vessel which would remain external to the content that it spreads. The Church is not simply a vehicle for Husserl’s word. The network of catholic intellectuals and institutions does not feature in this book as a mere logistical structure, but as the institutional embodiment of its intellectual content, of thought. Is Catholicism a religion? In this book, the Catholic emerges primarily as a philosophy. Insofar as Catholicism accounts for making phenomenology the philosophy of the European continent, Baring argues, it is because “before existentialism and before phenomenology, the first continental philosophy of the twentieth century was Catholic.” (19)

What is Catholic philosophy? This question is not really developed in the book, which has a very clear answer: medieval scholastic philosophy as it has been oriented by the works of Thomas Aquinas, namely Thomism. In the relevant period for the book, the first decades of the 20th century, Catholic philosophy consisted in the attempt to renew Thomism, namely in neo-Thomism or neo-scholasticism, which according to Baring was in these decades “the largest and most influential philosophical movement in the world” (8). Neo-Thomism was global philosophy, which makes one wonder about the reason it was only able to turn phenomenology “continental”, but no more than that. Neo-Thomism, as Baring portrays it, had set to itself a daring task. It translated medieval philosophy into modern terms not in order to modernize this philosophy, but, on the contrary, in order to effect “a philosophical conversion of modernity, a movement from modern to medieval metaphysics” (14). Neo-Thomism was the Catholic mission to the Moderns, aiming to reconvert modernity “back to Catholicism” (ibid.).

“Conversion” is a key word in Baring’s book. It is the basic description of the intellectual event that it portrays, and the plot is articulated by the personal conversions – official or not – of the protagonists. What was the nature of the conversion “back to Catholicism”, which neo-Thomists were trying to generate? The answer to this question lies at the heart of Baring’s historiographic thesis: it designates the ultimate purpose of Catholic, neo-Thomist philosophy, explains why phenomenology was deemed useful for Catholic intellectuals to pursue this purpose and so would account for why Catholicism helped phenomenology to its continental and international success.

Were neo-Thomists interested in converting modernity, modern thought and philosophy, from secularism or atheism back to religion? Obviously, as already indicated, neo-scholasticism was not looking to promote “religion” in its modern, paradigmatically Protestant or secular sense. But furthermore, Baring most often does not describe Catholic thought in terms of religion or what is commonly – in modern discourse – associated with religion as a special domain, of faith, transcendent God, holiness, spirituality etc., in short, as a different domain than secular, atheological or even atheistic philosophy.

On the contrary: neo-Thomism was looking to renew Thomism, for which, as described by Baring, theology implied worldly thought. Catholic thinkers “were convinced that the world incarnated a divine order, and that the institution of the Catholic Church was the worldly locus of redemption” (14); God is present in “His effects in the world” (30), such that faith is deemed “the perfection of natural knowledge” (29). The goal of Neo-Thomists was accordingly, among others, to connect Catholicism to science, natural science: by going back to Aquinas they were trying to reconnect with Aristotle. In other words, whether or not Catholicism was interested, in the first decades of the 20th century, in renewing something like religion, in Baring’s book Catholic philosophy emerges as a powerful agent for the renewal of Aristotelian philosophy, which historically speaking is perhaps nothing but Western philosophy, or philosophy tout court. Just as philosophy’s first and ultimate concern is with Being, Baring’s Catholicism is concerned with “the Real”.

“The Real” is the central concept of Baring’s narrative, which thus connects the contemporary discourse on philosophy and religion with the contemporary philosophical conversation on realism. Explicating this connection may have been a useful way for Baring to provide a more precise explanation of what he understands by “the Real”. Considering the pivotal centrality of this concept for the book’s argument, it remains rather vague and sometimes ambivalent. In fact, its basic significance in this book seems to be above all polemic, in that it designates what neo-scholasticism, seeking to renew medieval, premodern philosophy, was asserting against modern thought. Indeed, throughout the book, Catholic positions are characterized in various ways as opposing the negation of realism by modern philosophy, namely as opposition to the idealism, relativism and subjectivism that would characterize modern thought.

That non-realism (a negation of or distance from the Real) is constitutive to modern philosophy, is a decisive presupposition of Baring’s project. The exact significance of this presupposed non-realism or idealism remains as much an open question as the exact meaning of “the Real”. If the supposed non-realism of modern philosophy means detachment from the worldly and natural order, in favor of some dimension of transcendence, of some supernatural or transcendental subjectivity, will or spirit, this would mean that modern thought, far from being secular and “worldly”, has rather become closer to religion, as a relation to the unworldly. This kind of analysis no doubt sits well with accounts of modernity, such as Hans Jonas’, as arising from man’s liberation from and subsequent domination of nature (NB: not against but precisely through modern, technological science), which would resemble or even be the avatar of ancient Gnosticism, religion of the Alien God. Neo-Thomism, working to effect on modernity a – as the title of Baring’s book reads – “Conversion to the Real”, which is actually a re-conversion, a movement back to the world, would accordingly be the modern permutation of the same anti-heresiological movement that for someone like Hans Blumenberg, for instance, accounted for the emergence of Christian doctrine. This movement may be described less as a conversion from philosophy to religion than as a conversion from religion back to philosophy, from faith back to reason.

Converting modern philosophy to the Real was in any case, so Baring, the missionary goal of neo-scholasticism in the first decades of the 20th century. It is for this mission that Catholic networks identified phenomenology as suitable and for this purpose they “made” it continental. The reason that phenomenology was found by neo-Thomist to be such a suitable discourse for deploying the conversion of non-realist modern philosophy to realism, Baring argues, is that phenomenological thought, to begin with Husserl’s notion of intentionality (consciousness is always of an object), was identified as an anti-idealist movement back to the Real within modern philosophy itself, so to speak a spontaneous movement of self-conversion: “phenomenological intentionality seemed to bypass the distortions of idealism and provide access to the mind-independent real. For neo-scholastics, phenomenology could help secular thinkers recognize God’s order in the world.” (14) How exactly neo-scholastic thinkers and institutions tried to achieve this goal, their more or less successful negotiations – and debates – among themselves, with phenomenology, as well as vis-à-vis other Catholic, Protestant and non-religious intellectual currents, and how all this contributed to the making of continental philosophy – this is the story told by Baring’s rich book.

One basic and far-reaching insight of Baring concerns the ambivalent nature of conversion: the shift from one conception to another at the same time connects both conceptions and thus opens the way to a counter-conversion, from the second conception to the first. Conversions work “in both directions” (16). This insight may be deemed as a structural principle that regulates – and complicates – basic dynamics in the history of thought, something like the Third Law of Intellectual Motion. It seems to be particularly significant in conversions that are not just spontaneous, but induced, namely in conversion projects, in missionary movements.With respect to the neo-Thomist mission to convert modern philosophy “back to Catholicism”, in order to do so it established “the Real” as a connection between modern phenomenology and medieval scholasticism, which would serve as a passage from the former to the latter. As Baring shows, however, this passage also facilitated the inverse movement, to the effect that the bridge built between Thomism and phenomenology also served Catholic thinkers to cross to the other side and to “break with Roman Catholicism” (15). The paradigmatic example discussed by Baring is Heidegger.

What is however the meaning of this counter-conversion, away from Catholicism, which according to Baring has become so prevalent in post-WWII phenomenology so as to completely obliterate its early Catholic years? Would it be that phenomenology, and continental philosophy, was moving away from religion, towards secular and atheistic thought? Is Catholicism religion? The question of religion, as already noted, interestingly does not explicitly frame the narrative of the book, which foregrounds instead the debate of realism vs. idealism. Catholicism is realism, but is it therefore more or less a religion?

It is only in the Epilog that Baring directly addresses the question of religion. “Continental philosophy today is haunted by religion” (343): the famous return to religion, a contemporary conversion – or perhaps even a contemporary mission? By whom – to whom? Is Baring’s book a part of this project, namely facilitating the passage from contemporary continental philosophy to religion by recalling how it was Catholicism that originally “made” phenomenology into continental philosophy? The “religious specters” that “haunt” continental philosophy today, Baring argues, indeed arise from its “family history”, namely phenomenology’s transmission to the world as it was “passed down through Catholic scholars” (344), so to speak phenomenology’s Catholic womb. The current return to religion in continental philosophy is connected to its Catholic heritage.

However, according to Baring’s further insight into the Third Law of Intellectual Movement, just as conversion is not only unidirectional, inheritance too is not simply linear. He points out that intellectual inheritance may pass on not just positive, affirmative doctrines, but also negative positions, what he terms “negative inheritance” (347). According to Baring’s analysis, it is by way of “negative inheritance” that phenomenology’s Catholic past, namely neo-Thomism, continues to operate within continental philosophy’s return to religion. In other words, Catholicism, as portrayed in Baring’s book, is present in this contemporary return to religion not as the positive agent, not as the agent of religion, but on the contrary in the negative, anti-religious positions – more specifically in their realism.

He brings the example of Quentin Meillassoux, who “presents himself as a rationalist ally to the natural sciences, seeking to reinvigorate realism after a period of idealist hegemony. Meillassoux is aware of his proximity to Thomism, which he defines as ‘the progressive rationalization of Judeo-Christianity under the influence of Greek philosophy’”. (348) Baring’s conclusion: “The atheist scourge of much contemporary continental philosophy appears as the inverted image of those Catholic thinkers who helped make philosophy continental in the first place.” (ibid.)  It is not in the return to religion but rather in the resistance to this return that current continental philosophy would be inspired by Catholicism, which consequently operates, at least in this context, not as a religion, but as anti-religion.

***

Synopsis of the Book:

Baring’s story is told in three chronological parts, which concern three different periods in the early history of phenomenology in its reception by Catholic scholars: 1900-1930, 1930-1940 and 1940-1950. The narrative is organized by another triad, three main figures of early German phenomenology, the “phenomenological trinity”: Husserl, Heidegger and Scheler, and the debates around them.

Part I, “Neo-Scholastic Conversion. 1900-1930” deals with the immediate Catholic reception of German phenomenology. Baring traces back the initial reception to a specific current within neo-Thomism, “progressive Thomism”, promoted by the Louvain School of Léon Noël, head of the Institut supérieur de Philosophie. Progressive Thomism was oriented by the work of Cardinal Désiré Mercier (Critériologie), who translated Thomist realism into the discourse of epistemology. This anti-Kantian epistemology was the site of early Catholic reception of Husserl, as told in Chapters 1 and 2. The first reception referred to The Logical Investigations of 1900-1901 and was enthusiastic, as Husserl’s anti-psychological notions, such as intentionality (which goes back through Brentano to scholasticism) and categorical intuition, appeared to secure epistemic access to “the objective order of the world” (40). “For Catholics around Europe, reading Husserl’s Logical Investigations was a revelation”, Baring writes (48). Modern philosophy’s “conversion to the Real” was celebrated by scholars such as Jospeh Geyser, Erich Przywara and the Milan School’s Agostino Gemelli, and even existentially performed through a personal conversion, such as by Edith Stein, to whom phenomenology has showen “the way into ‘the majestic temple of scholastic thought’” (75). All the more disappointing was Husserl’s return to the transcendental consciousness in his Ideen of 1913. The second reception identified in Husserl a second, reversed conversion, from realism back to idealism, which “was experienced by neo-scholastics as a betrayal— both of Husserl’s earlier work and, by implication, of their own project” (61).

Chapter 3 follows the intellectual development of early Heidegger, a phenomenological convert away from Catholicism. Influenced by Joseph Geyser, young Heidegger, “a progressive scholastic” (88), in his 1913 dissertation embraced Husserl’s anti-Psychologism, and in his 1916 Habilitaiton on Dun Scotus, the “pinnacle of Heidegger’s neo-scholastic period” (97), formulated a meaning-based realism. The disengagement is signaled in 1917, as Heidegger stated that Catholicism “forgot religion for theology and dogma” and looked for religious experience in Christian mysticism, Augustine and Protestants from Luther, Otto, Overbeck, Kierkegaard, Dilthey and Schleiermacher. Being and Time of 1927, so Baring’s perceptive analysis, features a curious atheism based on “two confessional strands” (113): Catholic ontology, but no longer perennis, and Protestant Dasein-analysis, but indifferent to faith.

Chapter 4 traces a similar dynamic with respect to Max Scheler, extending the plot from theory to ethics and politics. Scheler’s 1913 Formalism in Ethics provided a phenomenological access (Wert-nehmen, axiological intuition) to an “objective order of value” (140) and his personalism, the notion of Gesamtperson, gave this ethics a socio-political embodiment. Both combined offered practical philosophy to Catholic social revival and anti-liberal, anti-bourgeois, anti-capitalist corporatism. Carl Muth’s influential Catholic magazine Hochland celebrated Scheler as “Black Nietzsche” (124) and intellectuals followed him in his early WWI patriotism, growing distance from nationalism and anti-republicanism in Weimar, such as Paul-Ludwig Landsberg’s “conservative revolution” (137). Disenchantment manifested itself, on the Catholic side, in doubts raised by neo-scholastics, such as Przywara, as to Scheler’s too heavy reliance on human intuition and emotional intentionality, and on Scheler’s side, in the pantheistic turn of his late work (1928, The Human Place in the Cosmos).

Part II, “Existential Journeys 1930-1940”, describes how, beyond its initial reception by neo-scholasticism, phenomenology “became a privileged battlefield in intra-Christian debates” (152). The central intra-Christian tension in Baring’s narrative is between neo-scholastics and existentialists. Chapter 5 tells about the rise of “Christian Existentialism across Europe” by portraying the tension between two converts to Catholicism, Gabriel Marcel and Jacques Maritain. Marcel (Metaphysical Journal, 1927; Being and Having, 1935), influence and mentor to existentialists such as Nicolai Berdyaev, René Le Senne, Jean Wahl as well as Simone de Beauvoir, Emmanuel Levinas, Maurice Merleau-Ponty, Paul Ricoeur and Jean-Paul Sartre, criticized neo-Thomist intellectualism as “hubris”, and insisted on the “unintelligibility of existence”, its embodiment and “mystery”. Maritain claimed “existential philosophy” describes rather Thomism itself, which deals with esse and acknowledges its mystery, deems it nevertheless “open to intellectual understanding” (163).

Chapter 6 goes back to the Catholic reception of Husserl and how during the 1930s it was shaped by a division within neo-scholasticism, between progressive and strict Thomists. Baring portrays this division through the “Critical Realism Debate”, concerning the attempt of the Louvain School’s progressives, such as Léon Noël and René Kremer, to base realism on epistemology, namely on critique of subjective knowledge (leading to post-WII “transcendental Thomism”). “Strict” Thomists such as Étienne Gilson and Jacques Maritain rejected the notion of “critical” – Cartesian or Kantian – realism as self-contradictory, insisting on the primacy of metaphysics over epistemology. Baring shows how this debate pressed progressive intellectuals, such as Kremer, Kurt Reinhart and Sofia Vanni Rovighi, who initially embraced Husserl’s phenomenology, to reject and rectify his perceived idealistic tendencies, especially as manifested in the Cartesian Meditations of 1931.

Chapter 7 presents the 1930s’ reception of Heidegger as the battleground for the inter-confessional debate between neo-Scholastics (such as Przywara, Alfred Delp and Hans Urs von Balthasar) and Protestants, in particular Karl Barth’s Kierkegaard-inspired Dialectical Theology. Baring describes this debate as arising from “two diametrically opposed, if symmetrical, accounts of Heidegger’s atheism: Thomists explained it by the restrictions placed upon Heidegger’s ontology by his (Protestant) prioritization of human subjectivity; Protestant theologians understood it through his attempt to ground the analysis of human finitude in an ontology, which arose from an excessive and Catholic faith in our rational capacities.” (213) In other words, both (dialectical theology’s) emphasis on the unintelligible and (neo-Thomist) emphasis on intelligibility could be construed, from the opposite  perspective, as subjectivist and so proto-atheistic. This leads Baring to the brilliant observation whereby “religious notes” of atheistic conceptions (he speaks of existentialism) may arise not from “uncomplicated inheritance of a believing antecedent, but rather as the reflection of a more distant voice, directed toward and bouncing of a common religious foe” (240), i.e. “negative inheritance”.

Chapter 8 returns to the reception of Scheler, “The Black Nietzsche”, in Catholic political thought. Baring shows how the Schelerian notion of social corpora as embodying spiritual order of values could support to conflicting conceptions of Catholic anti-liberal politics. Luigi Stefanini drew on Scheler to affirm a “hierarchical order of values” enacted by an authoritarian and totalitarian state, which led him to collaborate with the Fascist regime and even acknowledge “racial defense” as “an act of the sovereignty and transcendence of the spirit” (259). In contrast, for Paul-Louis Landsberg, as Paul Ludwig Landsberg was known in his French exile and anti-Fascist resistance, “the divine order is always to come and can never be fully worked out. For that reason, authoritarianism runs the risk of shutting down the process by which the true order is revealed” (263), which led him to reject Nazism and Communism. Baring exemplifies the same ambivalence in Scheler in the development of Emmanuel Mounier’s Catholic-Nietzschean magazine Esprit, from support of Vichy to Resistance and post-WII negotiations of Thomism and Marxism.

Part III, “Catholic Legacies 1940-1950”, discusses how after “the Catholics who had helped promote phenomenological ideas around Europe withdrew from the stage”, “[t[he script that they had written […] persisted, to be picked up and adapted by new actors.” (276) Chapter 9 is dedicated to the story of the Husserl Archives, famously smuggled from Germany to Belgium by the young Franciscan Herman Leo Van Breda, to be institutionalized within Louvain’s Institut Supérieur de Philosophie. According to Baring, after WWII Van Breda, who was looking for means to secure the archives’ further existence (which he obtained at last from UNESCO), realized that “the archives would flourish only if they became independent of the Church” (297). Catholicism, which made phenomenology continental, was now required, in order to prefect its own making, to retreat. Like the truth of Heidegger’s Beyng, the appearance of neo-Thomism in phenomenology was completed by the concealment of neo-Thomism in phenomenology’s Veröffentlichung. It is thus that the first volume of the Husserliana was dedicated to the Cartesian Meditations, “the text where Husserl distinguished his work most clearly from scholasticism” (300).

Chapter 10, the last one, indicates traces of neo-scholasticism in “Postwar Phenomenology”, once again through an intellectual tension, this time between the secular Merleau-Ponty and the Protestant Paul Ricoeur. Both of “Marcelian bent”, affirming embodiment and existence versus idealism, their diverging interpretations of Marcel reproduced the debate between Thomism and Existentialism, inasmuch as Merleau-Ponty emphasized the intentional order of perception and Ricoeur the mystery and the “fault”. The disagreement on Marcel was intertwined with a disagreement on Husserl, which reproduced the debate between progressive and strict Thomism: whereas Merleau-Ponty, like the Louvain School, strove to protect Husserl’s realism from his transcendentalism, Ricoeur, like Maritain, read Husserl as an idealist. Commenting on the Protestant philosopher’s surprising affinity to strict Thomism, Baring provides a precious polemic triangulation, which is perhaps the real glory of scholastic sophistication: “Against the Thomists, Ricoeur denied that Christians could use philosophy to defend religious dogmas. Against the Barthians, Ricoeur did think philosophy retained an important role. It could challenge the pretension of science to have provided ‘a final solution.’ Christian philosophy would thus be a ‘science of limits, an essentially Socratic, ironic position [. . .] forbidding all thought to be totalitarian’.” (327)

***

Three Concluding Reflections:

  1. The key concept of the book’s argument is “the Real”. Catholicism promoted phenomenology for the sake of converting modern philosophy to the Real. As noted above, however, realism signifies in this book primarily polemically, in contrast to the alleged idealism of modern thought. However, as Baring insightfully shows with respect to “atheism”, polemic meanings are unstable and easily turned around. Just like criticism of “atheism” can be found in any religious position against any other religious position, isn’t criticism of “idealism” as detached from the real, i.e. as false, inherent to the disagreement of any philosophical position against all the others? Wasn’t metaphysical dogmatism for Kant too disconnected from reality, as the Ptolemaic system for Copernicus? For Hegel, an arche-idealist, the real was the reasonable. Baring shows how neo-Thomism too deemed the real intelligible, whereas existentialism and dialectical theology experienced reality in unintelligibility.
  2. It seems that ultimately “the Real” for Baring signifies the limit of human autonomy and power, where reason means intelligibility of – and subjection to – the given, eternal, cosmic order (Thomism), in contrast to modern “self-affirmation of reason” (Blumenberg). Conversion to the Real means something like undoing modern hubris, disempowering the human. Baring portrays at least two divergent ways of doing so in Catholic thought, rationalism and existentialism, both inspired by Husserl’s phenomenology. One may wonder, however, whether both modes of “the Real” are equally defining for continental philosophy. The very term “continental” philosophy, determines reason by existence, i.e. actual geography, politics, history, which arguably condition more continental than analytic thought. It is rather Anglo-American philosophy that may be said to represent anti-idealist, positive rationalism, where reason is limited qua “analytic”. Wouldn’t this modern philosophy – which is closer to natural sciences, and arises from phenomenology only within its alliance with logical positivism against psychologism – be a more suitable ally for neo-scholasticism?
  3. There seems to be a third way of limiting or determining reason, which is very present in Baring’s study, albeit unthematized as such. Next to rationalism (reason determined by given logical order) and existentialism (reason determined by given non-logical being), his narrative centrally features also the determination of reason through the inter-personal plurality of thought: thought as a school, the institution that gave scholasticism its name. As such, scholasticism determines reason neither by the given intelligible, nor by the unintelligible, but by the overintelligible, namely by the open excess of thought as polemics. By choosing the debate as a primary figure of thought, Baring’s book manifests perhaps scholarship itself, next to analytic and continental philosophies, as a third post-modern manifestation of scholastic realism, and perhaps of philosophy überhaupt.

M. E. Littlejohn (Ed.): Imagination Now: A Richard Kearney Reader, Rowman & Littlefield, 2020

Imagination Now: A Richard Kearney Reader Book Cover Imagination Now: A Richard Kearney Reader
M. E. Littlejohn (Ed.)
Rowman & Littlefield
2020
Paperback $39.95
364

Mauro Carbone: Philosophy-Screens: From Cinema to the Digital Revolution

Philosophy-Screens: From Cinema to the Digital Revolution Book Cover Philosophy-Screens: From Cinema to the Digital Revolution
SUNY series in Contemporary Continental Philosophy
Mauro Carbone. Translated from French by Marta Nijhuis
SUNY Press
2019
Hardback $80.00
166

Reviewed by: Keith Whitmoyer (Pace University)

Carbone’s most recent work, now available in English, marks a critical moment in the author’s philosophical development: the passage from an original reader and interpreter of Proust and Maurice Merleau-Ponty to a completely original contribution to the history of philosophy. In a way, this contribution has been in development at least since Carbone’s The Thinking of the Sensible: Merleau-Ponty’s A-Philosophy, but clearly, in this recent work, it reaches a new level of clarity that now operates beyond the auspices of interpretation. I would like to take the opportunity to clarify what Carbone brings to the history of philosophy. What he has found in the philosophy of Merleau-Ponty and Proust, which now, in Philosophy-Screens is thought beyond them, is the reversal of Platonism. In this respect, we can place Carbone’s work in this history of what Merleau-Ponty calls the history of a-philosophy, a history that includes Hegel, Marx, and Nietzsche and more recently the work of Deleuze.[1] What is the sense of Platonism here and how could such an ambitious claim be justified?

At the center of this question, which is also the center of the text, is the screen. It was already Plato who, in his famous Cave Allegory, first thought the screen, and if the history of philosophy is a history of footnotes to Plato, as Whitehead said, then philosophy has always been a rumination on the screen. The screen, on one hand, is what Lyotard has called the “specular wall in general,”[2] a surface that has the dual role of being a window (revealing) and at the same time a curtain (concealing), which in this dual role becomes inscribed and invested with a historical and dynamic form of signification: the skin, the canvas, the cinema, the TV, the electronic device, the wall of the cave, the list goes on. It is through Herzog’s Cave of Forgotten Dreams that Carbone traces Lyotard’s specular wall to the origins of philosophy in Plato. The film documents the Chauvet Cave in France, home to the best-preserved cave paintings known to exist, dating back at least 32,000 years, making it 14,000 years older than the famed caves of Lascaux. These paintings, Carbone notes, “celebrate the enigma of images themselves, as well as the enigma of the surface that is invested with such a celebration and therefore delimited from the surrounding space.”[3] The Chauvet cave is an instance of what Carbone calls the “arche-screen,” “understood as a transhistorical whole gathering the fundamental conditions of possibility of ‘showing’ (monstration) and concealing images on whatever surface. In our culture such a whole has been opened and experienced through the human body itself.”[4] I will return to the significance of the human body mentioned here. For now, I want to mention that the Chauvet cave, as a “variation” of the arche-screen, serves as a vehicle for the legibility of the cave in Plato’s allegory.

The cave of the allegory, as Carbone shows, is a space organized around its functions of revealing and concealing, that is, a space constituted precisely in terms of an arche-screen. On one hand, there is the more obvious screen, the καταντικρύ, the cave wall standing in opposition to the sources of light where the shadows dance and play. This surface is ostensibly one of revealing, since it is a necessary condition for the appearance of the images (shadows). Its disclosive function, however, is inextricably bound up with another screen, the τειχίον, the “low wall” that functions to conceal the mysterious figures who constitute the spectacle as they carry the σκευαστῶν, “artificial things,” along the enclosed path. This second screen, Carbone notes, “performs the double function of concealing by offering a protection and of selecting things to be shown—which are both, actually, characteristic of the arche-screen.”[5] The two screens operative here are, in a sense, so inextricably related to one another that it would be useless to attempt to separate or compare them, and it seems that only together is the arche-screen’s instance of the cave constituted: the concealing movement of the low wall, which selects the artifacts by occluding the puppeteers, is a moment of the disclosive, opposite wall on which the shadows are cast.

There is a second arche-screen’s instance present here, however, in which the concealing-revealing movement of the shadow play is embedded. We recall that, for Plato, while the shadow play is initially disclosive—a world is indeed made present to the prisoners—this disclosive function is simultaneously one of concealing since what are disclosed are precisely shadows—shadows that both indicate and at the same time occlude the σκευαστῶν. This is the first arche-screen described above. These “artificial things,” in their turn, however, have the same dual movement: they show themselves to the prisoner who has turned away from the shadows toward the fire but precisely here they too both indicate and conceal the things themselves that wait on the outside. This is another, second arche-screen. The prisoner eventually is dragged up a rough and steep path into the light of day where she beholds the “things themselves.” These things, now beheld in a shadowless light, are supposed to signify the είδη, the “ideas” of what is. It would seem that here we encounter a surface that reveals only and conceals nothing, and this is, therefore, not an arche-screen in the sense described but the foundational condition of possibility for the others, the ἀρχή, the origin of all other screens and arche-screens. I want to pause briefly here and note that it seems to be this moment of the allegory that becomes foundational for Western metaphysics since Plato—that philosophy henceforth will understand itself as the pursuit of this origin, seeking out that absolute surface on which it can inscribe itself but which will at the same time conceal nothing, leaving no trace of latency or depth.

But Plato seems to be very careful here, and upon further reflection it may not be obvious that we arrive in such a space on the journey out of the cave. I think that this pause is critical for understanding the significance of the arche-screen, the philosophy-screen, and Philosophy-Screens. Is the outside that Plato imagines truly a space without depth? Is it correct to say that in that space there is disclosure only and that any movement of concealment is absent? The presence of the είδη, their very legibility, is premised on their coming to light, and therefore their visibility is made possible only through an accompanying concealment: the visibility of things always rests on the invisibility of light. The prisoner encounters things illuminated by the light of the sun but precisely then the light itself remains invisible. It seems, then, that even here we encounter an arche-screen, a twofold movement of revealing and concealing, an event of what Heidegger called Unverborgenheit, “unconcealment,” which he always preferred to refer to the Greek word ἀλήθεια, “truth.” I believe that it the question of truth that stands at the center of Philosophy-Screens and that Carbone’s work should be understood as an elaboration and continuation of—rather than a commentary—on a work by Merleau-Ponty at one point titled “The Origin of Truth.”[6]

What re-reading the cave allegory through the arche-screen teaches us is that, contrary to the historical reading of Plato that understands truth in some super-sensible beyond, that which always is and never otherwise, call it Being or ideality, is in every case implicated by and in its sensible reverse. Each event of unconcealment is coupled with concealment, every surface is both a screen and curtain, revealing and concealing: the tattooed or scarred skin both outwardly manifests its meaning and yet simultaneously conceals certain depths; the printed page both outwardly manifests its intended signification and yet always conceals an un-thought element; the speech of the other signifies her wishes and yet, as Proust understood, always conceals a person that we cannot know and who cannot know herself. It is also here that we encounter what I have described as Carbone’s reversal of Platonism: in the figure of a re-thinking of the relationship between sense and idea and the manner in which these two operate as the two poles of the arche-screen. This figure is articulated by Carbone, via Merleau-Ponty and Proust, under the rubric of the “sensible idea.” In Philosophy-Screens, he describes these as

ideas [that] are inseparable from their sensible presentation (that is, from their visual, linguistic, or musical images for instance, but even that they are instituted by these very images as their own depth. … an order of ideas that—just like aesthetic ideas for Kant—cannot be reduced to concepts, ideas that the intelligence, as such cannot grasp, because—as Merleau-Ponty emphasizes—they ‘are without intelligible sun. … the essences of certain experiences, which only similar experiences can, sometimes, fully manifest, but cannot be defined by any concept.’[7]

Such remarks are prefigured in Carbone’s 2004 book, The Thinking of Sensible: Merleau-Ponty’s A-Philosophy:

Proust describes ‘ideas’ which do not preexist independently of their sensible presentation. Rather, they are inseparable from and simultaneous with their sensible presentation, since only the sensible presentation provides us with the ‘initiation’ to them: ideas which, ‘there, behind the sounds or between them, behind the lights or between them, recognizable through their always special, always unique manner of entrenching themselves behind them’ (VI 198/151).[8]

The sensible idea, for Carbone, is perhaps illustrated most clearly in Proust’s descriptions of love, especially the “little phrase” that captures so essentially—and yet so indescribably—the pathos of Swann’s relationship with Odette and later the love between the narrator and the elusive Albertine. Carbone notes in The Thinking of the Sensible:

Merleau-Ponty explains that Marcel Proust characterizes melody as a ‘Platonic idea that we cannot see separately’ since ‘it is impossible to distinguish the means and the end, the essence and the existence in it’ (N 228/174). He alludes to the fact that, for the main character of those pages of the Remembrance, a peculiar idea of love is incarnated in the sound of a melody—the melody of the petite phrase of Vinteul’s sonata—to such an extent that the idea of love becomes inseparable from Vinteul’s listening.[9]

It may be worth attending to some perhaps length passages from the Recherche in order to express more fully the sense of the sensible idea. These are from the scene in The Fugitive where, after Albertine’s death, the narrator gradually begins to forget and understand that he no longer loves her. The passing of this love is linked to the petite phrase, the lifespan of which has passed through the loves of Swann and Odette and through the loves of the narrator and Albertine. The phrase is both its sensible, carnal expression in the music and at the same time the very sense and meaning of a love that has now passed; that is, its essence inextricably bound to its existence:

In the Bois, I hummed a few phrases of Vinteul’s sonata. The thought that Albertine had so often played it to me no longer saddened me unduly, for almost all my memories of her had entered into that secondary chemical state in which they no longer cause an anxious oppression of the heart, but rather a certain sweetness. From time to time, in the passages which she used to play most often, when she was in the habit of making some observation which at the time I thought charming, of suggesting some reminiscence, I said to myself : ‘Poor child,’ but not sadly, merely investing the musical phrase with an additional value, as it were a historical, a curiosity value…. When the little phrase, before disappearing altogether, dissolved into its various elements in which it floated still for a moment in scattered fragments, it was not for me, as it had been for Swann, a messenger from a vanishing Albertine. It was not altogether the same association of ideas that the little phrase had aroused in me as in Swann. I had been struck most of all be the elaboration, the trial runs, the repetitions, the gradual evolution of a phrase which developed through the course of the sonata as that love had developed through the course of my life. And now, aware that, day by day, one element after another of my love was vanishing, the jealous side of it, then some other, drifting gradually back in a vague remembrance to the first tentative beginnings, it was my love that, in the scattered notes of the little phrase, I seemed to see disintegrating before my eyes.[10]

Plato seems to have been troubled by the Heraclitean idea of change—that all things come to pass in a state of flux, the “ever-living fire, kindled in measures and extinguished in measures.”[11] Beyond the deflagration of the sensible, Plato sought to ascend to a presence outside of time and its vicissitudes: the εἶδος. The sensible idea, precisely because it is not outside of time, emerges only insofar as it is lived, only insofar as it is experienced. Love is no doubt an ideality “expressed” by the petite phrase. But love, precisely in its ideality, is never a “love as such” extricated from those who do and have loved. Insofar as the petite phrase expresses this ideality, it expressed precisely the love of Swann toward Odette, the love of the narrator for Albertine, with all of the shades and textures of sense entailed by that love that was lived. In this way, as Proust indicates in the passaged cited, love, even its ideality, is subject to generation and decay—it lives and dies, and it was this vitality of idealities that Plato could not conceive in his desire to escape from time. It is this vitality, however, that is restored to the ideal in the sensible idea, and this is the more precise sense in which Carbone’s work, including Philosophy-Screens, seeks to reverse Platonism. Because the ideal is lived—because it is nothing other than the sedimentation and concretion of sensible experience, the manifest, τὀ αληθής, is in every case the inverse, the fold of the concealed,   ἡ λήθη, what has passed into oblivion.

I would now like to turn to the figure that articulates this reversal, the screen. The screen in this context should not be construed simply a technology or an apparatus, nor should this be understood as a perhaps useless preoccupation with our historical and cultural phragmaphilia. The screen, rather, is the site of so many reversals, crossings, and intersections, a refractory point, one might even say an aleatory one. In this respect, the human body too is a screen, which can “produce images by being interposed between a luminous source and a wall … or by being decorated with inscriptions, drawings, colors, or tattoos.”[12] The screen, then, is in a sense nothing new and has been with us as long as we have been with ourselves, that is to say, as long as there have been surfaces that conceal and reveal (the skin, the curtain, the written page, etc.). What is new—what Carbone gives us in Philosophy-Screens—is a re-configuration of this surface that opens up paths of thinking and philosophical expression heretofore un-thought: not just a screen but a philosophy-screen, philosophizing in accordance with the screen, to allow the screen itself to be the vehicle of thinking and philosophical expression, indeed, what Carbone quite perspicaciously calls, following Deleuze, “philosophy-cinema.”[13]

Philosophy-cinema should not be conceived as making films about philosophy—this is not a question of documentary or filming philosophers speaking, lecturing, etc., nor should it be considered biography or even in terms of the more recent perpetuation of philosophy pod-casts. It is rather a new way of thinking about what it means to think and what it means to express thought. Platonism (and this history of Platonism) has given us the βίβλος, the Book: a monumental artifact in which the absolute truths of Being are inscribed, outside of time and beyond the vicissitudes of history and life. As Husserl and Derrida have shown, the history of the Book is simply a moment in the history of writing, the constitution of idealities through repeated acts of articulation and reactivation.[14] To philosophize cinematically, to bring forth philosophy-cinema, is to think in a manner that no longer takes the form of writing and no longer presupposes or requires monumentality—it is profoundly non-graphic, that is to say, no longer rests on the necessity of γρᾰ́φω, the cutting or chiseling into stone at the beginnings of writing and from which all subsequent writing is derived. To philosophize cinematically is to allow for, even to welcome, the passage of thought in time, its coming into being but also what Nancy has described as its partance, its flight and departure.[15] It is this temporal element that writing, in its function of constituting the ideal as such, attempts to erase—where the inscription into stone is the attempt to erase time—and it is this temporal element that cinema allows us to think again. Philosophy-cinema, then, is not the attempt to escape—to escape time, escape the cave—through the constitution of a monument that mirrors the a-temporality of “truth” but is rather the effort to allow for escape: the flight of thought into its self-concealment and oblivion, the passage of life and experience that cinema has always attempted (and perhaps always failed) to make visible.

This sentiment is expressed both at the beginning and at the end of Philosophy-Screens: the effort to think again and in a manner that allows for the temporal partance of thinking, its objects, as well as its modes of expression. Deleuze is referenced a second time in Part I of the book, “What Is a Philosophy-Cinema?,” in a quote from Difference and Repetition:

The time is coming when it will hardly be possible to write a book of philosophy as it has been done for so long: ‘Ah! The old style…’ The search for a new means of philosophical expression was begun by Nietzsche and must be pursued today in relation to the renewal of certain other arts, such as the theatre or the cinema.[16]

Carbone adds:

In short, Deleuze found that the novelty of the cinema implied a renewal of the philosophical questions concerning to only our relationship to ourselves, to the others, to the things, and to the world, but also—and inevitably—concerning philosophy itself: that is, concerning its expressive style and, hence, the very style of its own thinking. Indeed, the question of the ‘philosophy-cinema’ does not belong to a single thinker. Rather, it involves a whole epoch, as the Preface to Difference and Repetition suggested. In this sense, it is a question regarding thinking itself.[17]

The renewal of philosophy, of its expressive style as well as the style of its own thinking are indicated by the refractory and reflective surface of the screen. The screen is perhaps not always even a surface but rather a point at which lines, trajectories, and forces curve, displace, and integrate but only as the inverse of a disintegrative movement. The screen, then, is precisely the point of alteration in the sense that there is no longer a “one” but only the repetition of others, of differences. As Carbone says,

Such logic [of screens] inevitably ends up exceeding and hence contesting that of concepts, to which it had been claimed to be reducible, in spite of all. However, in the gaps between the fingers of our hand, squeezing in the gesture of seizing—the gesture on which the modern action of conceptualizing was shaped—we increasingly feel that sense is slipping away. Without falling into a rhetoric of the ineffable, the philosophy to be made is called upon to account for this.[18]

The screen, in a complex of senses, makes philosophy-cinema possible; it allows for a modality of thinking freed from the βίβλος and its monumentality. Insofar as it inserts itself back into the flow and lapse of time, philosophy-cinema no longer conceptualizes itself in terms of the Begriff, that which is to be grasped and taken hold of, but allows for—perhaps even welcomes—the slippage of sense as it passes through our grasp. Must we then be content with some alternative between philosophy in its traditional self-assessment on one hand—Book, concept, grasp—and some form of irrationalism or untenable skepticism? No, because the alternative between these is a false one. We need not choose between the traditional instantiations of philosophy and nihilism, for there are modes of thinking and expressivities that are neither; these are the uncharted territories for thinking that have perhaps only been indicated. Philosophy-Screens: From Cinema to the Digital Revolution takes us down such a path and opens the way for a philosophy that will perhaps be the new standard for thinkers yet to come.


[1] See Merleau-Ponty, Maurice, Notes de Cours 1958-1959 et 1960-1961 (Paris: Gallimard, 1996), 278; and Carbone, Mauro, The Thinking of the Sensible: Merleau-Ponty’s A-Philosophy (Evanston: Northwestern University Press, 2004), xiii.

[2] Carbone, 46.

[3] Ibid., 65, italics Carbone.

[4] Ibid., 66.

[5] Ibid., 67.

[6] Published posthumously and under a later title as The Visible and the Invisible.

[7] Ibid., 34; 37; 69.

[8] Carbone, 2004, 40-41.

[9] Ibid., 30.

[10] Proust, In Search of Lost Time, vol. V, “The Fugitive,” 755-56.

[11] Heraclitus, Fragment B30.

[12] Carbone, Philosophy-Screens, 66.

[13] Ibid., 3; the reference is to Italian translation of The Logic of Sense, translated into English by Ames Hodges and Mike Taormina, ed. David Lapoujade, “Note to the Italian Edition of The Logic of Sense,” in Two Regimes of Madness (New York: Semiotext(e), 2006), 66.

[14] Probably the most important text in this regard is Derrida’s commentary on Husserl’s text, “The Origin of Geometry.” See Derrida, Jacques, Edmund Husserl’s Origin of Geometry: An Introduction, trans. John P. Leavy, Jr. (Licoln, NB: University of Nebraska Press, 1989).

[15] See Nancy, Jean-Luc, Noli Me Tangere: On the Raising of the Body, trans. Sarah Clift (New York: Fordham University Press, 2008), 28.

[16] Carbone, 3; Deleuze, Difference and Repetition, trans. Paul Patton (New York: Columbia University Press, 1994, XXI.

[17] Carbone, 3.

[18] Carbone, 109.

Miroslav Petříček: Philosophy en noir, Karolinum Press, 2020

Philosophy en noir Book Cover Philosophy en noir
Václav Havel Series
Miroslav Petříček
Karolinum Press, Charles University
2020
Paper $20.00
330