tag:blogger.com,1999:blog-9632565221036818422024-02-07T15:12:35.285-08:00lectures on jurgen moltmann by barry ballardgoogle7c7aeff2e4bf3c43.htmlAnonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.comBlogger262125tag:blogger.com,1999:blog-963256522103681842.post-50137716860773890102014-11-18T20:33:00.001-08:002014-11-18T20:33:24.743-08:00ALEXANDER KOJEVE: NOTION OF "AUTHORITY" 2014 PUB DATE<a href="http://www.mediafire.com/listen/6a9pas5o669te3x/kojeve2.mp3">CLICK ON LINK: http://www.mediafire.com/listen/6a9pas5o669te3x/kojeve2.mp3</a><br />
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<span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">KOJEVE’S PHENOMENOLOGY OF AUTHORITY: or “Philosophy of Law”:</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Putting this text in its relationship to Kojeve’s other works looks like the following:</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Notion of Authority: written 1942, French pub. 2004, Eng. pub. 2014</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Outline of a Phil. Of Right: written 1943, French pub. 1980’s, Eng. pub. 2001</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Intro to Hegel: French pub. 1947, Eng. Pub 1969</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">The “notion of authority” was never intended for public availability and publication. Instead Kojeve wrote it to circulate among his “philosophy-of-law” friends in French government.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">It essentially is a 100 page policy-paper to stir conversation between his political friends.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Because it is simply a 100 page treatise and not a book-project; a great deal of necessary material has been left out. You will have to have a very in-depth understanding of his position in his book on “introducing Hegel”; almost to the point where you can anticipate his thought. There are many holes here that the reader is supposed to just “understand”.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">But he does tells us that it is written as “Phenomenology” first; then moves on to metaphysical consideration; and finally ontological expansion within the context of “Being”.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">As an outline; you will have to fill in with what you understand from the “phenomenology of Hegel analysis” that Kojeve brilliantly produced.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">But that helps us, in a way; because we know to approach the text from the point-of-view of self-consciousness and its grasp of authority. And we also know that the place of the “notion of the true” cannot alter in this text. We have a common intersecting point that keeps us on track.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">“Authority” is a theoretical articulation of the “ideal” for Kojeve that always needs validation as “recognition”. There is no authority without recognition. And in phenomenology, we know that the theoretical self is the “master-self” for Kojeve.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">We are taken on a journey of following the inertia of “Centripetal Thought”, headed for the axis of the TUPOS-SELF, and that important flip of priority, igniting the process of the praxis of the “slave-self”.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">I will give you the “chronology of selves” that Kojeve creates in this treatise; and then you can use it to supplement your own research. The process evolves in the following manner:</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">1. NOMINATED-SELF: where the existing collective-authority makes possible our adoption or nomination into the authority-process. (Through the mediation of education).</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">2. LEADER-SELF: we develop our own individual universal-ethical-project and search for a way to implement it and gain recognition for our contribution.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">3. CRITICAL-JUDGE-SELF: on the threshold of dialogue, we sort out the social implications of authority and refine our position by seeking to identify the eternal-authority that is veiled by the temporal-authority.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">4. AUTHORITATIVE-SELF: here we construct our theoretical-model, which will include: an all-inclusive total-authority, with its selective sub-system authorities. Creating an ideal as a living-organism.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">5. MASTER-SELF: already a central part of Kojeve’s thought-process; always thinking as a Hegelian. This is the “self” ready to take-on the “decisive-project”; through the RISK of positing. Transitioning from master to slave is going to involve existential-risk.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">6. TUPOS-SELF: centripetal-thought finally reaches its AXIS-POINT, where the self performs the “axis-flip” of generating the priority of the slave-self entering into praxis.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">7. SLAVE-SELF: “efficient cause” is initiated through this awakening of the “slave-self”. Who also carries with it the material cause of existential-memory.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">8. CAUSALITY-SELF: realization for Kojeve is equal to a “diversified causality” of complex-authority. Combining efficient-cause; material-cause; final-cause; and contemplative-cause of the JUDGE-SELF.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">9. NOMINATING GENESIS-SELF: we travel full-circle and get involved in education on the psychological level, in order to coax other selves into a continuing “nomination” to authority.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">A difficult text, indeed. But after the hard work involved in researching it, I must say 5 stars for certain.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-37361261360930866232014-10-13T11:17:00.002-07:002014-10-13T11:19:34.561-07:00ALEXANDER KOJEVE : "Hegel through the Master/ Slave parable"<a href="http://www.mediafire.com/listen/q5ye14ykk0kmvo5/kojeve.mp3">click link: http://www.mediafire.com/listen/q5ye14ykk0kmvo5/kojeve.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">BEFORE THERE WAS “PHENOMENOLOGY”, THERE WAS “KOJEVE”:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This volume on Hegel was first published in 1947, well ahead of the French post-modern movement. But it rose to popularity in the 1960’s, along with that movement. Kojeve was a prophet, well ahead of his time.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Fundamentally, Kojeve interprets Hegel’s entire phenomenology through the parable of the “Master & Slave”. This parable functions for Kojeve as the generic-concept of interpretation. This parable is to be understood as depicting the internal dialectic that takes place internally within a singular self-consciousness. Therefore, we are to understand Hegel as depicting the progressive unveiling of the individual self-consciousness in its journey to develop itself; and then, after this moment, move on to seeking to double itself.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">For Kojeve, the key moment in the phenomenology is the “AXIS-FLIP”, where the master-self slips back into latency and the slave-self takes priority (where just prior, the opposite was true). This occurs just prior to the moment of entering into the realm of “praxis”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">I’ll give you the summary moments that might assist you in your own reading.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. The “assimilating-I” is interrogated by speech</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. The “negating-I” begins to surface but must pass from preservation to historical status.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. The “historical-I” emerges in dialogue between desiring-selves at the threshold of dialogue</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">4. The “master-I” dominates in the realm of the notion-of-the-true.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5. The axis-flip, where “master-I” and “slave-I” exchange places of priority</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">6. Praxis stages of “slave-I” are 6-fold. Resulting in “citizen-I”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">7. “slave-of-realization” reaches absolute idea and “idea” & doubling of self-consciousness.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Every serious student of Hegel’s work should read this work. It is the perfect text for any class or seminar. 5 stars.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-35043075221906842992014-10-06T18:39:00.001-07:002014-10-06T20:17:06.192-07:00FIRST PETER THROUGH THE MIND OF BENEDICT DE SPINOZA - chapter one<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKiCom05ohCRGh4XYOby3JE2hoYYSu8_FE-Ccuf55kAjGHH3KPYKff9ulNdEj6JibPmb6ajYq_krOsyZtVLIiNPupa658E3WcJBnpKfn5D6yuqhVHCmVAAjDoBRUEX2POWMaXKT1_icc/s1600/peterpic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKiCom05ohCRGh4XYOby3JE2hoYYSu8_FE-Ccuf55kAjGHH3KPYKff9ulNdEj6JibPmb6ajYq_krOsyZtVLIiNPupa658E3WcJBnpKfn5D6yuqhVHCmVAAjDoBRUEX2POWMaXKT1_icc/s1600/peterpic.jpg" height="200" width="164" /></a></div>
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<a href="http://www.mediafire.com/listen/w69qzbjfl84u2ky/peter01.mp3">click link:</a><a href="http://www.mediafire.com/listen/w69qzbjfl84u2ky/peter01.mp3"> </a><a href="http://www.mediafire.com/listen/w69qzbjfl84u2ky/peter01.mp3">http://www.mediafire.com/listen/w69qzbjfl84u2ky/peter01.mp3</a><br />
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GLOSSARY FOR FIRST PETER, CHAPTER ONE: verses 1-25<o:p></o:p></div>
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LOGOS: substance
as whole organism, with innate tendency to suffer through creation.<o:p></o:p></div>
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SARX: diverse
modalities of extension, passive modes where divine attributes are hidden<o:p></o:p></div>
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RHEMA: primary
attributes of substance, Telos-of-Soteria, thought-as-voice, nested within logos<o:p></o:p></div>
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SPOKALUPTO: realm of
unveiling suspended between Sarx & Rhema; where self employs </div>
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“Hupakouo”<o:p></o:p></div>
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ANA-GENNAO: realm of
subjective psyche where awakening in “new spiritual birth” takes place.<o:p></o:p></div>
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OURANOS: extended presence of attributes in
creation; usually translated “heaven”. Reveals elements for
formation of our</div>
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SHEMATIDZO –world view.<o:p></o:p><br />
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copyright, Barry L. Ballard, October, 2014 </div>
<br />Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-85955115732512384362014-09-24T21:56:00.005-07:002014-09-24T21:58:26.773-07:00SPINOZA: THE "INTELLECTUAL INSTRUMENTS" OF HIS ""LOGIC""<a href="http://www.mediafire.com/listen/ygyhuh9khpkg28y/pollock.mp3">click link: http://www.mediafire.com/listen/ygyhuh9khpkg28y/pollock.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">POLLOCK KEYS-IN ON SPINOZA’S “INTELLECTUAL INSTRUMENTS”:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">I did not expect much from this manuscript. Pollock was only 35 years old when he wrote it; and I honestly did not think he could be equipped enough to write a sound treatise. I was wrong. He must have started philosophical investigation at a very early age. He is solid throughout the text. It is quite a good commentary. It is more of a commentary than an exposition. Pollock is rendering his “opinion” of the “ETHICS”, and its misinterpretations.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">But, more importantly; he addresses Spinoza with the intent of keying- in on the articulated “intellectual-instruments” that really serve as the only foundation to Spinoza’s position anyway. Briefly I will list these for you, as given in the text. THEY ARE:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. CLEAR AND DISTINCT IDEAS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. SUFFICIENT ORDER OF GENERALIZATIONS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. SINGULARITIES OF UNIVERSAL CONCEPTS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">4. NOTION OF EXTENSION (RATHER THAN NOTION OF THE TRUE)</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5. POSITED FUNCTIONAL SIGNS FOR PRAXIS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">6. POSITED INFINITE INTELLECT.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">In addition to this organizational work-flow; the material is also presented through the functional modalities of: PERCEPTION; REASON; INTUITION; IMAGINATION; & INTELLECT.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Because of Pollock’s background in contract-law; I found the material very systematically presented, which I liked.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">NOTE: this is a scanned public-domain document and therefore there are no page breaks; material is run together and you are responsible for developing a habit as to how you can best read the material. You’ll learn how to skip notes after 30 minutes of reading. Bu don’t get too upset. You’re getting real solid commentary for 99 cents. Just overlook the inconvenience. I did. 5 stars for this surprise in scholarship</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-89603361392426617552014-09-24T21:44:00.005-07:002014-09-24T21:46:12.910-07:00SPINOZA: THE "TRACTATUS"<a href="http://www.mediafire.com/listen/4qb0oeok758e8nx/spinoza3.mp3">click on link: http://www.mediafire.com/listen/4qb0oeok758e8nx/spinoza3.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">WRITING A "PHRAESEOLOGY-OF-PROVIDENCE", WITHOUT SUPERSTITION:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Spinoza is almost as misunderstood as Hegel; almost. First; where does the "TRACTATUS" lie? And what is its specific role in Spinoza's overall body of work?</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Spinoza's body of major works reads in the following order:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1661: the Logic of Man & Well-Being. (Which essentially was written as a pure "logic")</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1669: this "Tractatus" appears in Amsterdam (written as a preliminary necessity-of-infinity that would inform the "Ethics")</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1677: the "Ethics" appears which is his full system, including its emphasis on Subjective-Spirit.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">These three major works were separated by "8" years" in each instance. So we find ourselves, within this manuscript; looking at Spinoza's take on the necessity of all that has been prophesied, the necessity of the "FADE" of "substance" (I'll explain in a bit); and the necessity of the praxis of "human-law" extending out of "divine-law". And, in all of this, how we are to avoid the entrapment of superstition and false metaphysics & ritual; and instead, reach the ultimate goal of "blessedness", consisting of an overwhelming epistemological "love-of-god" that will allow us to minister to the general population in posited phrases, or narrative-phraseologies that articulate "divine-law" as the "NOTION" of the "rule-for-living? This is our ultimate intent!</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The best way to approach this manuscript is to correlate the emerging moments of the development of the "law", with the emerging moments of the "intellectual-instruments" in Spinoza's "ethics. I will list these for you and then you can use it as a reference when you investigate the text yourself:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. INSTRUMENT OF CLEAR & DISTINCT IDEAS: corresponds to the first appearance of the "prophetic-voice" of the "Mind-of-God"</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. INSTRUMENT OF SUFFICIENT ORDER: corresponds to partitioning aspects of "prophetic-voice" into "existential-voice" of "divine-law"</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. INSTRUMENT OF UNIVERSAL CONCEPTS: corresponds to unveiling aspects of FADE: fortune, assistance, direction, & election of infinite substance</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">4. INSTRUMENT OF NOTION OF EXTENSION: corresponds to notion of "rule-for-living", from definitions gained from our dialogue concerning FADE</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5. INSTRUMENT OF POSITED FUNCTIONAL SIGNS: corresponds to "proving-law-through-experience" & the dialectic of writing narrative that reinforces divine and human law.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">6. INSTRUMENT OF INFINITE-INTELLECT: corresponds to extracting a phraseology-of-providence from Nature & Scripture, without the distortions of superstition.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">There are a total of "6" intellectual instruments in Spinoza's system of thought.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">I am a sincere fan of Spinoza because of his influence on so many great thinkers, including Hegel. But I do recommend you read that little "Logic of Man & Well-Being". It will assist you a great deal in understanding Spinoza's system. 5 stars for this well-thought-out treatise.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-41513486397907159212014-08-30T10:32:00.000-07:002014-08-30T10:32:06.561-07:00SPINOZA'S "ETHICS"<a href="http://www.mediafire.com/listen/mcepvaavy5yv67u/spinoza2.mp3">click link: http://www.mediafire.com/listen/mcepvaavy5yv67u/spinoza2.mp3</a><br />
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<span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">BEFORE HEGEL THERE WAS SPINOZA; THE TRUE "MASTER"</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">1677 was a remarkable year. It was the year that the public was given Spinoza's "ETHICS", which represented his entire scheme of thought; not just "Ethics". In fact, it reads more like an "Epistemology" or even a "Phenomenology. These are also the reason that Spinoza is so appreciated by post-modern thinkers.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">He begins his phenomenology with "PERCEPTION", in the realm of the "psyche". He creates the first emergence of the idea of "Positing" when he announces that an idea can be "real" and "true", but not "actual" in reality. It can still exist as a true representation of Absolute-Essence.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Everything, including you and myself are all enclosed within the one "spirit-substance" that has gone out of itself in "EXTENSION". This extension takes the forms of: ACTIVE-ATTRBUTES & PASSIVE-MODALITIES that enclose those attributes.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Because we exist as part of that "extension"; we possess an "innate" understanding of the "GIVEN-TRUE-IDEA" that will enclose our finite attempts at forming our versions of the "true". Our particular-modality of thought participates in the "Absolute-Thought" of the one spirit-substance.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">His methodology is simple and feeds post-modernism to a tee. Reductionism or deconstruction will take us to the singularities of meaning that can be grasped as "clear & distinct" "concepts".</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">After deconstruction, we pass through dialogue in order to acquire a preliminary "FORM" of synchrony for these concepts. There is an "order" to the infinite attributes that have emanated.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Passing through the refinery of reductionism, analogy, and reflective understanding; we can finally formulate a diagram or outline of the notion of the true; that begins with the "PRIMARY-ATTRIBUTES" and builds down from there, developing sub-system concepts as we go.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">All of this takes pace in an "UNDERSTANDING-WORKSPACE" in the intellect that is adding & refining constantly.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">After the "notion" is diagramed, we are ready to compose our ontology or "PHRASEOLOGY" of essence, in order to persuade existence forward in spirit. He proposes an ethics of "Writing" a narrative. Notion, alone, is not enough. It needs to be formulated into narrative and shared.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">"PRAXIS", however, is something else in this deterministic model. We are simply to participate in the process of the "necessary & the impossible". "Substance evolves of its own necessity and things reach essence out of necessity. "Impossibility" only exists if we GET IT WRONG. If we mistakenly articulate contradiction within an essence. "Impossibility" s a subjective-failure, not an objective-weakness.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">His final ontology can be labeled as follows: 1. SUBSTANCE "IN-ITSELF"; 2. SUBSTANCE GONE OUT OF ITSELF AS "EXENDED-SUBSTANCE"; & 3. SUBSTANCE RETURNING TO ITSELF AS "CONCEPTUAL-PHRASEOLOGY"</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;" /><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">This is the thinker who inspired so many; especially Hegel. 5 stars for this masterpiece.</span><br />
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<br />Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-92015374105452009272014-06-23T18:04:00.002-07:002014-06-23T18:10:56.605-07:00BULTMANN'S 1955 VIEW ON HISTORY:<a href="http://www.mediafire.com/listen/jqjgs7kz2em6xji/bulthis.mp3">click link: http://www.mediafire.com/listen/jqjgs7kz2em6xji/bulthis.mp3</a><br />
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mini 20 min. lookAnonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-55720335196927122012014-06-20T09:25:00.003-07:002014-06-20T09:32:49.203-07:00DERRIDA: PHENOMENOLOGY OF "ANIMOT-VOICE"<a href="http://www.mediafire.com/listen/ac31cbm5xzvimif/derrida3a.mp3">click link: http://www.mediafire.com/listen/ac31cbm5xzvimif/derrida3a.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">THE ROLE OF “HUPAKOUO” IN AUTO-BIOGRAPHY:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">How are we to define the “self” as “subject” if we ignore “spiritual-seeing” and “spiritual-hearing”?</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">There is more to humanity than the cognitive and the construction of rational propositions. There is a more primitive dimension that also defines us. This dimension speaks to us in an unknown grammar, one that appears to the Hupakouo attribute of the “psyche” who possesses the right perspective or “stance”. Of course, this is the concern of phenomenology in the first place; and the concern of post-modern thought. It is time to re-acquaint ourselves with the “Animot-voice” of the animal-other.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">In 10 days at a conference held at the Cerisy Cultural Center in Lasalle, France Derrida did just that. This is his treatise of “awakening”; his plea for a new “auto-biography”, one that will give the animal-monster, that currently exists in the world, a “new name”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">HOW DO WE WRITE THE NEW NAME?</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Derrida proposes a triad with regard to his approach. We could call this his “triad-of-Hupakouo”; a new LOGOS. Its parts: 1. the “being-after” of the self as a state of latency with regard to this quest for auto-bio definition. This is the self of shame and impropriety, and under the gaze of the interrogating animal-other. 2. The “being-alongside” marks a transition of the self where self enters the role of “negation” and negating the “monstrous animal”; and positing instead the “theoretical animal-other”. But discernment is still missing here. The self needs dialogue to get past this “lack” with regard to auto-biography. 3. The “being-near” of the self recognizes the role that ”Hupakouo” plays at the level of “presentation” concerning the “other” and “listening” with regard to the transcendentally intuitive “psyche”. Self and animal can co-exist in dialectic.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This is the same Derrida of the “phenomenology-of-writing”; therefore, we should recognize that the “PRAXIS” of all this is the positing of a written “zoo-to-biographical sketch”. This is a sketch of relation between the “I” of the self and the history of the “animal-as-concept”. We will enlist the attestation, argument, and proof of our recalled “auto-bio memory” as the apologetic accompanying proclamation; to help empower this PRAXIS.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The “notion” of this praxis-positing is formed through a process Derrida calls: “Limitophy”; which is a deconstruction of the false-singularity of “animal” currently in existence, coupled with re-interpreting the limit-point of our situation in a way that is “non-linear”. And the “cultivation” of the results of dialogue at the conversation-threshold with other selves involved in the process of forming a new name for animal. Cultivation takes place under the critique of a posited 3rd party called “Universality”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Give yourself the benefit of reading this manuscript slowly; it is rich in content and addresses Derrida’s fundamental position in a way that centers on ”listening”. We are never so well advanced that we cannot learn new ways to awaken our spiritual listening.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5 stars for this 10-day conference.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-76128269619112068562014-06-15T10:06:00.004-07:002014-06-15T10:11:55.356-07:00BULTMANN: PHENOMENOLOGY OF CHRISTIANITY<a href="http://www.mediafire.com/listen/0ytpmri03jyrh5u/bultpm.mp3">click link: http://www.mediafire.com/listen/0ytpmri03jyrh5u/bultpm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">A TRUE PHENOMENOLOGY OF CHRISTIANITY FROM 1953:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Bultmann; much in the same manner as Levinas (but well ahead of his time), tells us that the self is confronted by both: a historical situation and text of existential importance. For Levinas, the text was the Torah and Talmud. For Bultmann, the text is exclusively the New Testament, and especially the gospel narratives (with a preference for John).</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">And both Levinas and Bultmann addressed the problem of a “kerygma-of-saying” that was enclosed in an “enclosure-of-said”. Bultmann calls this the “enclosure-of-myth”. Now; Bultmann precedes Levinas by about 8 years, so we should recognize just how ground-breaking Bultmann’s offering was and still remains today.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The “myth-of-the-said” that tries to enclose kerygma is composed primarily of Jewish apocalyptic and Greek Gnosticism. We need to extract the kerygma from this inauthentic enclosure and acquire the existential significance of New Testament narrative in its originary proclamation-state. Our task therefore includes this extraction coupled with the ongoing development of the self’s “self-understanding”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The “psyche” makes its contribution by passing through the triad of: anxiety – faith – and eschatological-existence. The tension of “security vs anxiety” interrogates the self to open itself to the intangible love of god and openness to the future. This eschatological stance must be repeated again and again for every new situation; a continual negation of “egoism”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The transition to the notion of the “true” passes through the relational-threshold of the “act-of-god”. For Bultmann, this means working through a triad: first; we internally posit the idea of “self-as-other”, where the love-of-god creates a self-acceptance equal to a self that is “other” than it already “is”; “self” becomes “eschatological-self”. Second; we pass through “dialogue with others where the “gnosis of revelation” is unveiled in the encounter with other selves that are also perceived eschatologically. And thirdly; the content of “kerygma” is articulated, as that within the Christ-event that is hidden under the mythical narrative. This means articulating the cross and resurrection as kerygma.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This threshold moment marks the self’s transition to cognition and the conceptual articulation of the cross and resurrection into an intelligible posited “word-of-reconciliation”. Essentially we are to posit the “saving-efficacy” of the cross as “intelligible” and available for proclamation and differentiation in actuality. For Bultmann, the cross is really all of the content we need. Resurrection simply stands for “faith” in the saving-efficacy of the cross. “Physical resurrection narratives” are later additions to the primitive text according to Bultmann.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">“Praxis” means taking up the triad of: 1. taking up the stance of “being-for-another”; plus 2. Uniting that stance with the impelling “question-about-god” to form 3. A realized objectivity of the dialectical involvement of the kerygma in actuality. It will include using the existing lexical content of one’s tradition and its specific philosophy; but critiquing that philosophy with the “right” of an eschatological understanding of human existence.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">What we can all learn here is how; after 61 years; a manuscript like this can take on new meaning in light of further offerings by post-moderns like Levinas and Derrida. 5 stars; and truly a transformative document.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-89267498280889511362014-06-10T09:44:00.001-07:002014-06-10T09:50:20.294-07:00LEVINAS: PHENOMENOLOGY OF "KERYGMA"<a href="http://www.mediafire.com/listen/0aiumzmkvnu88k2/levinaskey.mp3">click link: http://www.mediafire.com/listen/0aiumzmkvnu88k2/levinaskey.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">13 YRS LATER: A PHENOMENOLOGY OF "KERYGMA":</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">In 1961, Levinas gave us his masterpiece of "Totality and Infinity" where he outlined his basic position on phenomenology. Now, 13 years later, in 1974, he gives us a refinement of his phenomenology that emphasizes the otherness of "being", by designating it "Kerygma"; much in the same way as Bultmann did for Christianity. Levinas wants to emphasize this kerygma, stripped of the contamination of the enclosure of the "said" (or imposed ontologies, etc.). His Judaic-demythologizing would strip or disrupt this "said", in order to create a fragmentation that would free-up the concepts so that the responsible self can engage in the task of re-instating their dynamic life as "signs" of "saying".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The proto-subjectivity takes up the act of the event-of-responsibility and enters the conversation threshold, where the dialogue passes through a triad of: "SUBSTITUTION - SENSIBILITY - SAYING". This dialogue has as its purpose to articulate the "proximity" of a "communal-sign-image" that "inspires" or motivates. This is the middle moment of one self standing-in toward another. But next, the self must articulate a "thematization" which will involve a new stance of the two selves standing together, facing a 3rd party; all within the atmosphere of "justice"</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From "thematization", he moves on to "praxis", where he depicts in the triad of: "QUESTIONING - RESPONSE - DIACHRONIC PLOT". The idea of "plot" is interesting because it suggests "narrative", which is important for the Judaic-LevInas. The space between "questioning" and "response" is designated the workspace for articulating this non-ontological expression of "truth". All taking place in the "modality-of-responsibility"</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LOGOS, therefore, is centered on the idea of "kerygma", a triad consisting of: "THE SAID-OF-KERYGMA / THE SAYING-OF-KERYGMA / THE DIACHRONOLOGY-OF-KERYGMA". The "diachronic-other" is the other of time that transits through all times; and therefore; usurps the previous autonomy of linear-time. "Time" is eschatological for Levinas.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This is a powerful manuscript that gives the view of a Judaic-Bultmann. Powerful and deep, but accessible if taken in small reasonable bites. 5 stars.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-60856225112614437282014-06-06T17:47:00.003-07:002014-06-06T17:51:57.373-07:00LEVINAS': PHENOMENOLOGY OF COVENANT<a href="http://www.mediafire.com/listen/5b53br0wcwmk899/levinasrel.mp3">click link: http://www.mediafire.com/listen/5b53br0wcwmk899/levinasrel.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">INDIE DIGITAL PUBLISHING PRODUCES USEFUL MONOGRAPH ON LEVINAS:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Digitally published in 2013; this 90 page monograph addresses Levinas by articulating his phenomenology of “covenant”. I found no information on the author, so I guess she wants anonymity. But I would give her high marks.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Morris takes us through the Judaic symbols in order to define Levinas’ phenomenology. Basically these run as follows: SINAI; BASE OF SINAI TO PLAINS-OF-MOAB; GERIZIN; THE “AMEN-RESPONSE” AT EBAL & GERIZIN; TENT-OF-MEETING; AND THEN THE PRAXIS-OF-INVERSION & THE LOGOS AS “PLOT-OF-BEING”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">I thought she did an excellent job of articulating the symbols, except for shorting us on an articulation of the tent-of-meeting. But you can extrapolate that, based on your own understanding of Levinas: essentially this is the moment of the distribution of the tribes and symbolizes “proximity” which she does talk about.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">To get the most from the monograph you should already have the thought-picture of the form and structure of phenomenology already in your mind. If you do; you can integrate this material easily. I would call it accessible, but deep enough to satisfy grad-level work.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">For an indie-kindle-manuscript; I was pleasantly surprised and give it 5 stars. Enjoy this manuscript.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-82898938330890722072014-05-27T11:12:00.003-07:002014-05-28T18:46:19.257-07:00BUBER: THE FIRST PHENOMENOLOGY<a href="http://www.mediafire.com/listen/hp1ih2j3gl3g2n9/buberext.mp3">c</a><a href="http://www.mediafire.com/listen/hp1ih2j3gl3g2n9/buberext.mp3">lick on link: http://www.mediafire.com/listen/hp1ih2j3gl3g2n9/buberext.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">IN 1923, the concept of “phenomenology” did not exist. Instead, such positions were called “existentialism”. Such was the label attached to Buber. And phenomenology is equal to “existentialism as relation”.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">However, as is the case with “prophetic-voice”; Buber anticipated phenomenology by 40 years. His “I and Thou” presented a phenomenology of “Relation”, long before the science would take birth in the 1960’s.</span><br />
<br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Roughly we can form a preliminary “Judaic-outline”:</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. RELATION-OF-EXILE: while, at the same time, being conditioned by “grace” and “covenant”. Where the self seeks out “meaning” in this barrenness.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. RELATION-OF-MEANING: and direction, symbolized in pillar-of-fire. Where self interprets the acquisition of the “units-of-meaning” as gifts of grace in perceiving “meaning”. Self takes on receptive attitude of “stance-of-prayer” for this perceiving.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. RELATION-OF-WORD: as symbolized as ark-of-covenant. The threshold of dialogue where self encounters three sub-system relations concerning the “speech-act”: a. “BELOW-LANGUAGE” of sensate-percepts. B. “WITHIN-LANGUAGE” of “cogito” relating to other selves. C. “BEYOND-LANGUAGE” of “spiritual-being” and acquiring the traces of the “eternal-you” in the shared experiences of other selves.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">4. RELATION-AS-POURED-OUT: symbolized in the “mercy-seat”; where self articulates the form of the “eternal-you” from the compiled “traces” and conceptualizes them into “altar” & “sacrifice”; a sacrifice of risking “whole-being” in the positing.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5. RELATION-AS-ELECTION: symbolized a tabernacle in the desert. The hinge pivot-point of true subjectivity that never quite reaches a fixed home with itself; always no more than a tent for a tabernacle. Never a determinate “it” to define the interrogation for “praxis”. “Praxis” demands more than this.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">6. RELATION-OF-PRAXIS: as a “relation-of-incarnation”; incarnating the “you” of SOCIAL-HUMANITY. It INCLUDES “3” sub-system-relations as follows:</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. “Relation-of-aesthetics” in the world of things.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">b. “Relation-of-love “in world of other selves.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">c. “Relation-of-meditation” in world of mystery and spirit.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">AND THE “LOGOS”: for Buber, the “logos” is metaphorically represented as the “Manna-of-nourishment”.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This logos passes through a triad of: 1. the “i-it” of psyche. 2. The “blossoming-i-you” of “cogito”; and 3. The “i-you” as “process-of-event”.</span><br />
<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This masterpiece of around 100 pages should be studied by any serious thinker who wants to better understand the current post-modern position. Highly recommended; 5 stars</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-18015558972407089242014-05-24T10:38:00.003-07:002014-05-24T10:46:03.350-07:00LEVINAS: GOD IS RELATIONAL, NOT METAPHYSICAL, FROM 1995<a href="http://www.mediafire.com/listen/pphn9epytxlplqs/levinastra.mp3">click link: http://www.mediafire.com/listen/pphn9epytxlplqs/levinastra.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LEVINAS’ CONCEPT OF “GOD” ARTICULATED THROUGH TWO MODALITIES:</span><br />
<br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This manuscript appears 30 years after Levinas’ masterpiece of “Totality and Infinity”, where he depicted his Phenomenology. Now he gives us the detailed articulation of what he meant in that essay by “transcendence”; understanding it within sociology. The following outline represents his position in this 121 page essay:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LEVINAS’ JUDAIC CONCEPT OF “GOD”; UNDERSTOOD WITHIN TWO MODALITIES:“TRANSCENDENCE” AND “ALTERITY”:</span><br />
<br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">TRANSCENDENCE: “3” moments:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. The “psyche” describes the “space-of-transcendence”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. Found in the face of the fellow-self.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">b. Ethical-awakening takes place and quest for “logos”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">c. Logos = the space of the “social-ideal-vigor”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">d. Transcendent space = this “social-ideal-vigor”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. The “conversation-threshold” describes the “time-of-transcendence”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. “Psyche” breaks from spatial thinking.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">b. Self seeks “originary-I” of the “other” behind the articulated “ideal-vigor”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">c. Concept of “being” is posited.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">d. The “originary-I” is the companion of the “logos-I”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">e. “originary-I” is posited as “prophecy”, which is anterior to “logos”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">f. It is expressed as “motivation”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. The “cogito” describes the “panoramic-notion-of-transcendence”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. Formed through the following equation: psyche’s articulated “ideal-vigor-logos” (Greek philosophy) – plus: the “prophetic-motivational-base” (Jewish spirituality) = the logos-proper; or “transcendence”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">ALTERITY: “3” moments:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. “transcendental-cogito” is awakened.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. Buber’s moments of “ethical-alterity” are taken-up by the transcendental-self.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. “morphological-desire” is expressed toward exteriority.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">b. Negation of any “i-it” relation in sociology</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">c. Categorical-imperative of “justice” toward the “other” in an “i-thou” relation is posited.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. The “originary-I” discovered through dialogue is coupled with the “originary-I” discovered through “ethics”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">a. Speech: beginning with speech-act at the DT. Conversation-threshold.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">b. Inscribing: of the self’s “psyche” and “cogito” with the trace of “transcendence”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">c. Suffering: through the “decay-of-human-relation” which is present today.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">d. Articulation of FACE: in reciprocal-understanding between dialogue and ethics; transcendence and alterity; Greek philosophy and Jewish spirituality.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Postscript: this work, of course, is done by the exiled self of “Exodus”. Wandering in the desert and constantly disturbed by the memory of genocide by the Nazi regime during WWII. Levinas believes there is the possibility of reconciliation, even after this horror. Absolutely worth 5 stars!!</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-12743898021604674132014-05-20T10:34:00.004-07:002014-05-20T10:39:42.451-07:00LEVINAS: JUDAIC FAITH AS POST-MODERN:<a href="http://www.mediafire.com/listen/r0bsl6f4u6929f9/judaicpm.mp3">click link: http://www.mediafire.com/listen/r0bsl6f4u6929f9/judaicpm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">FOR LEVINAS: the Judaic intellectual: “freedom” passes through these “8” steps:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. “Masculine” individualistic violence of the unconscious of forming ecstatic intuitive units of meaning.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">2. “Feminine” conjugal bond of being for “psyche”, through figuration based on uniting Epekeina-horizon with units of meaning in a pre-cognitive thought-picture.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">3. Reaching “Understanding” through dialogue and interpretation, relying on prophetic-traces of promised messianic-era; and finding the “Epekeina-other” defined as the irreducible identity of “being” or “I AM”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">4. Articulated notion of “Investiture” (his version of “incarnation”); through a negation of the numinous concept of the sacred as revealed in the theatro-logical presentation of Moses on Sinai.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">5. Then a taking-up of the name “ISRAEL”, as the exiled-self, relating to “humanity” before any “landscape” or geographical place.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">6. Then taking up the modality and designation of “PHARISEE”; as the “writer-of-praxis”; who couples epistemology with speech and differentiation; in dialectical relationship.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">7. Finally, the act of writing as “breathing-through-literature”. Similar to Derrida here. Writing can change history. Get literary and poetic work out there in the world where it can create alterity.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">8. Lest we forget; now we inscribe our psyche-tablet in the “return” from “free-act”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">For Levinas the “Talmud” itself is an expression of Judaic-philosophy. Synthesizing Jewish Revelation with Greek thought. (p. 15). Therefore the “self” begins with the “traces-of-meaning” within this historical text and returns to it, after working through the “8” moments of “freedom” for new “inscribing”. He is doing that with this treatise. 60 pages are dedicated to structure, then he gives us 40 pages of commentary.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The Talmud has two parts: “Mishnah”- oral instruction & “Gemara”- elucidation and commentary. The “Gemara” includes “Aggadic-statements that address “interpretation”. This interpretive work is reawakened for Levinas. Thus the evolution of this treatise. The Pharisees favored the Talmud, but the Sadducees rejected it. That is why Levinas states that “Pharisee” is the name to be taken-up by the “writer-of-praxis”.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-60178776431923254282014-05-09T11:48:00.004-07:002014-05-10T16:57:54.904-07:00LEVINAS' PHENOMENOLOGY FROM "TOTALITY & INFINITY"<a href="http://www.mediafire.com/listen/4jkdsu5desy7550/levinaspm.mp3">click link: http://www.mediafire.com/listen/4jkdsu5desy7550/levinaspm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">NEW METAPHYSICS OF "UNIVERSAL INCARNATION":</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">MASTERPIECE: this manuscript is considered essential reading for anyone researching phenomenology or post-modern thought. Derrida found it so significant that he wrote a separate commentary for it that later appeared in his collection of essays. The manuscript is 304 pages and is divided into "4" sections as follows: 1-109: "phenomenology"; 109-187: "auto-affecting interiority"; 187-254: "dokounta threshold of conversation and seeking of FACE; 254-304: "ethics and ambiguity". The first 109 pages are the declarative-phenomenology, and the heart of the essay. The remaining sections are elaborations for the reader, if needed. Depending on your experience with the structure and function of phenomenology and its sub-sections; it is possible to read the primary first section and get all of the necessary content for Levinas' position.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">THE UNDERLYING PRESUPPOSITION: fundamental to Levinas' position is his "logic-of-incarnation", which he articulates in "6" moments: IRREVERSIBILITY; RECOVERY OF IDENTITY; PRIMORDIAL RELATION; SOJOURNING; TRANSCENDENCE; & AUTO-CHTHONOUS.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">THE CENTRAL IMPORTANCE OF "FACE": "Face", for Levinas, is the metaphorical expression for the "Epekeina-otherness" that lies behind any concrete-form or articulation of "otherness". It is "essence" of the "other. This essence is debated and refined at the conversation-threshold of gathered like-minded individuals who also seek the "site-of-dwelling" that eludes us. This conversation-dialogue leads to an uplifting-epiphany of FACE, a rupture-event.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">THE JEWISH TEACHER WHO SAID "ATHEISM": the axis threshold for Levinas' true subjectivity consists of a self who holds in tension "2" fundamental relational concepts: "separation" & "enjoining". Atheist-separation is required by the notion-of-infinity that is absolute transcendence. And the imperative of the quest-for-truth guides the self toward rejoining the "other", in the reciprocal project.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">THE TRIAD OF THE LOGOS: Levinas presents the over-arching metaphysic of LOGOS as: INTERIORITY; EXTERIORITY; & COINCIDENCE. "Interiority" is the self-expression of "otherness" as "living-presence". "Exteriority" is the conversation-dialogue of exchanging "behaviors-of-the-other". And finally; "coincidence" is the "language-of-the-eye" that sees the "gesture-of-FACE as "revealed-content" coinciding with "revealer-essence".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">ENJOY YOUR RESEARCH: this manuscript is packed with content, logically presented, fully accessible (if read ten pages at a time in small bites), and will create epiphanies of its own. I loved this 5-star manuscript.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-48950975466692441552014-05-06T13:15:00.001-07:002014-05-06T13:25:24.507-07:00TWARDOWSKI: A LOGIC OF PHENOMENOLOGY<a href="http://www.mediafire.com/listen/cfyl14hv20i46jc/twardowski.mp3">click link: http://www.mediafire.com/listen/cfyl14hv20i46jc/twardowski.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">AN ACCOMPLISHED TWARDOWSKI “READER” FOR 1897-1933 :</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">BRADL & WOLENSKI have done an excellent job of editing and preparing a valuable reader of “original work from Twardowski. Twardowski played an important role in the development of phenomenology and post-modern thought; but acquiring his work is near- impossible. This volume solves that problem.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Between Brentano’s empirical-psychology and Husserl’s phenomenology, we have the significant contribution of Twardowski’s LOGIC-OF-PHENOMENOLOGY. His field of interest was logic, so be prepared for reading in small bites (my recommendation).</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">His project is “writing”; which is very similar to Derrida. And he concludes his phenomenology with the writing of the “praxis-document”. His moments can be roughly understood as: 1. Forming the substrate-image-of-representation. 2. Applying the “representations-of-judgments” to images in order to reach “dispositional-sense” of enduring quality. 3. Formation of “psycho-physical-product” of signs-of-meaning. 4. 6 moments for forming the enduring sign-model. 5. And finally; the 10 aspects of writing a praxis-document and its engendering of a mental artifact of universality.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The book is approximately 300 pages and is divided into three parts: phenomenology, epistemology, and philosophy-proper. But; the phenomenology is what he is known for and it is presented in pages 1-147. You will get more than enough content in these 147 pages.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">In praise to the editors; they did understand the structure of phenomenology, so the material is presented in proper order. This is extremely important because this “reader” reads like a single manuscript. Great accomplishment for these editors.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Twardowski is very important to the legacy of post-modern thought. To ignore him would be foolish. Now we have “one” volume that gives us all the resource material we need for his position. This is probably grad-level at least, but easily accessible if taken in small bites. 5 stars easily.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-28838373431833294682014-05-03T10:17:00.003-07:002014-05-03T10:25:40.799-07:00LEVINAS: JEWISH POST-MODERN THOUGHT, STRONGLY INFLUENCED DERRIDA<a href="http://www.mediafire.com/listen/4brx0rz56jn2gh5/levinas.mp3">click link: http://www.mediafire.com/listen/4brx0rz56jn2gh5/levinas.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">A BONUS MONOGRAPH ON LEVINAS: this 75 page monograph deserves the highest recommendation. Derrida, in his humility, says it will just be a brief overview. Instead; it is a precise, distinguished commentary on Levinas. Derrida articulates Levinas "empirical-metaphysics" as an important contribution to properly understanding LOGOS within a post-modern context. And the final 11 pages of this monograph give us a precise logical articulation of the "metaphysic". This is very significant material to be enclosed in this collection.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-63500144070721617242014-04-23T09:45:00.000-07:002014-04-23T09:51:12.362-07:00FOUCAULT'S CONCEPT OF "MADNESS"<a href="http://www.mediafire.com/listen/ekykredzzmv90mt/foucaultpm.mp3">click link: http://www.mediafire.com/listen/ekykredzzmv90mt/foucaultpm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">A FOUNDATIONAL TEXT FOR UNDERSTANDING DERRIDA:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This manuscript by Foucault will either complicate or simplify your comprehension of Derrida; but it should be understood that the two thinkers are closely related in their approach to phenomenology.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">"Madness" appeared in France in 1964. Derrida's "Grammatology" appeared in France in 1967 (just three years later). Although they differed in their appropriation of Descartes; Derrida professed a considerable appreciation for Foucault's work on "Madness".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">FOUCAULT INTRODUCED THE IDEA OF NEGATING THE CLASSICAL NOTION OF LOGOS that Derrida adapted. It is a first moment to be articulated in this text. From there, the self engages passage on the "ship-of-fools" in search of entering the City-of-Reason"; or "Notion" of the true. The "figuration-of-image" takes place as the self dis-embarks the ship of fools at an inlet river of figuration. It is here where the mast of the ship bears the transplanted "tree-of-knowledge", and the madmen gather around it to form the figuration of possible entrance into "Reason".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From here, the self transitions to the "haunted-workhouses" of the 17th century; metaphorically representing the dokounta threshold of the necessary transition point to "Reason". Here the self learns the "rhythm-of-collective-life" and prepares for transition.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">"Notion" is unique for Foucault and is metaphorically represented by the absurd practice of putting the madmen on exhibition, as a presentation of their "nature". These exhibitions were ordered and supervised by attendants; but eventually the madmen practiced self-exhibition; a self-actualizing presentation of their "natures".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From here, Foucault transitions through the "HINGE-OF-ANIMALITY"; which is the madman reduced to animal status; and stripped of all content. This is justified as a "kindness-of-Nature".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From this point on; madness enters the cognitive domain. But there is a need here for some form of metamorphosis of the idea of madness itself. Thus emerges the concept of the Christ-Event.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">The Christ-Event for Foucault takes up "madness" within the godhead itself through the suffering and representation of madness by Christ during the passion experiences. This, alone defines our essential "Praxis" as a quest for forming an authentic disposition of "body-state" or motivational base.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">"Logos-proper", therefore gets an interesting articulation: PASSION leads to dispersed imprinting of the bodily members; which in turn leads to a concentration of this somatic-imprinting into an image for "inscribing" into the "psyche". Logos is this "reciprocal-pulsation".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This all leads to DELIRIUM, which is articulated madness in language. While including the element of "otherness" or transcendence that the collateral axons of the brain afford (Foucault uses neuro-psychology throughout his text).</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">There are numerous correlations with Derrida here; and it helps underscore Derrida's trajectory of thought. I found the manuscript informative and a clarification of Derrida, and an insight to early interpretations of madness and insanity. 5 stars; and, I am sure you will enjoy this manuscript.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-68555082052805694442014-04-16T15:32:00.003-07:002014-04-16T15:39:01.393-07:00DERRIDA'S CONCEPT OF "LOGOS":<a href="http://www.mediafire.com/listen/cazuwchtzwe4cac/derrida2b.mp3">click link: http://www.mediafire.com/listen/cazuwchtzwe4cac/derrida2b.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">DERRIDA'S DOCTRINE OF THE "LOGOS" DEFINED:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">I had already conquered Derrida's "Grammatlogy"; and that is the best reference for the totality of his position. So I only acquired this volume to get a better understanding of his take on "LOGOS". He does this in a very precise way in the first three essays, pages 1-85. I felt the price of the book was well worth the value of acquiring these three essays. I may read the others at a later date, but right now they do not interest me. My attention was solely on "logos".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Obviously, having an understanding of the "Grammatology" will help the reader; or some prior understanding of Derrida's position. He is not easy reading. But, having said that; he is fully accessible to any reader with some foundational work already internalized.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Basically Derrida gives the reader a triad to consider:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">We actually pass through a triad of "logos":</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">A. LOGOS-COGITO: "logismos" (reasoning") + "huperbole" (madness, in the positive sense of "otherness")</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LOGOS = ARCHAIC-REASON</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">B. LOGOS-CLASSICAL: "logismos" + "hubris" (otherness as derangement and excessiveness; in order to establish a hard duality)</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LOGOS = OMNIPOTENT-DETERMINATE-REASON</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">C. LOGOS-POST-MODERN: "logismos" + "subjective-huperbole"</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">LOGOS = LESSER-DETERMINED-REASON</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-13899557396056078642014-04-06T10:55:00.002-07:002014-04-06T11:02:45.564-07:00DERRIDA'S "GRAMMATOLOGY":<a href="http://www.mediafire.com/listen/d3k65fl7d3vsv8x/derridapm.mp3">click on link: http://www.mediafire.com/listen/d3k65fl7d3vsv8x/derridapm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">HATED, DESPISED, TOLERATED; MASTERPIECE BY DERRIDA:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This manuscript shares a place in history with Hegel's "Phenomenology", as one of the most despised manuscripts of philosophy. And they are both despised for similar reasons; their inaccessibility.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Hegel assumed his readers were already familiar with his entire system, prior to even approaching his "Phenomenology". Derrida does the same. They both wrote for their colleagues. In Derrida's case; he assumes the reader has passed through the following presuppositions: 1. they already understand the structure of phenomenology. 2. They have an understanding of Hegel through the eyes of Heidegger. 3. They already have an understanding of his mentor Paul Ricoeur and even Jean Luc Nancy, who also offered him the "singular-plural". He assumes too much.</span><br />
<br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Therefore, I strongly recommend reading a prefatory commentary on Derrida first; but then, of course, attacking this original work. My current recommendation is to offer Dr. Christina Howells' book on Derrida. It is extremely well done.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Having said his; I can tell you that the reviews of this manuscript of "Grammatology" will probably reflect "5-stars" or "1-star"; with very few in the middle. This is the writer who gathers the love-hate relationships unto himself. He does gather in 5-star ratings because, as Ricoeur once said, "This is a seminal work" of great importance. No individual can go around Hegel today in the field of philosophy (even if only to disagree); and the same will hold true for "Grammatology" in a few years. No individual will be able to go around this presentation of post-modern "deconstruction & re-elaboration".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This a review and not a commentary, but I will give you the "10" moments of Derrida's deconstruction process. But please consider Howells' book. The "10" moments are:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">1. Phonological voice. 2. Deconstruction. 3. Psychic-turn-inward. 4. Auto-affection. 5. Dokounta threshold of "refinery". 6. Transcendental "arche". 7. Hinge pivot-point of true subjectivity. 8. Ecriture. 9. Logos- redefined. 10. Composition threshold and return to mystic body-state.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">It took "9 "years for this manuscript to make to America. It will be a few years before Derrida becomes essential reading for American philosophy; but it will happen. I am one of those who "loved" the work done by Derrida, and I give it 5-stars, with a recommendation to enjoin the reading with the help of Howells. Good luck on your research.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-84275745863981120192014-03-22T18:37:00.004-07:002014-03-22T19:44:06.279-07:00RICOEUR: AND THE WORK OF "FORGETTING"<a href="http://www.mediafire.com/listen/ayyw7mgh99348ik/ricoeur4b.mp3">click link: http://www.mediafire.com/listen/ayyw7mgh99348ik/ricoeur4b.mp3</a><br />
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<div class="MsoNormal">
VOLUME THREE:
“FORGETTING”<o:p></o:p></div>
<div class="MsoNormal">
The over-arching intent of Ricoeur’s phenomenology is to
outline the significance and demand for each individual to be involved in
writing the “truth” of the intentionality of history. Therefore he posits “forgetting” as the third
moment in his triad because it designates the moment of “return” and the demand
to revise our discriminations, in order to write a better posited model that
specifically addresses the need to overcome human guilt; which Ricoeur
perceives as the fundamental problem facing humanity.<o:p></o:p></div>
<div class="MsoNormal">
Therefore, in this volume, Ricoeur first takes us through
the moment of “reflexive-return”, which wants to correct a “LACUNA”, a “gap” in
the collective of traces that has been grasped.
But before we return to re-evaluating “traces “and revising our model;
we must first pass through the unconscious “body-state” that is undergoing its
own “odyssey of development”. (Yes; we must continually tune our hearts). <o:p></o:p></div>
<div class="MsoNormal">
Within the “explored” or “active” unconsciousness, we can
evaluate this motivational body-state, and its desire for reaching
“FORGIVENESS”; which means our on-going “mournful-struggle” of the work of
writing history in a way that will transform other selves into overcoming their
guilt and loss-of-self against the uncertainties of living today. <o:p></o:p></div>
<div class="MsoNormal">
This “forgiveness” has content and an absolute
referent: Ricoeur is a Christian. Therefore the absolute referent is the
kerygma-of-Christ; but without the necessity of formal church or religion. And is crystallized in the categorical
imperative “to love”. <o:p></o:p></div>
<div class="MsoNormal">
When the self takes-up this motivational-base of “LOVE”, it is
ready to enter the “reserve-of-forgetting”.
That’s right: previous culling
and filtering has been retained in memory.
Nothing has been permanently discarded.
We can still re-evaluate previous motivational-work. We do so through three layers of traces: the material, the structural, and the
psychical trace. <o:p></o:p></div>
<div class="MsoNormal">
We end up with a new assortment of revised “images”, and can
then re-engage ourselves with the semantic work of writing the trajectory of
the truth of history. The cycle
continues; because history always interrogates us; and human-guilt always
confronts us as the key existential problem.
<o:p></o:p></div>
<div class="MsoNormal">
In a way, volume three was the most enjoyable for me. Volume two probably gave the reader the most
“content”, but volume three and its centeredness on “motivation” is a
challenging treat. <o:p></o:p></div>
<br />
<div class="MsoNormal">
This book is a challenging venture for graduate-level or
post-graduate level interest. But, it
should not be ignored. Ricoeur died in
2005. These were his dying-words and his
legacy. 5 stars for certain. Good luck on your reading.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-43553041261256144802014-03-20T13:38:00.003-07:002014-03-20T13:43:50.140-07:00RICOEUR: "HISTORY"; OR WRITING THE TRAJECTORY OF HISTORY<a href="http://www.mediafire.com/listen/qfcvsyt03c4ullg/ricoeur3.mp3">click link: http://www.mediafire.com/listen/qfcvsyt03c4ullg/ricoeur3.mp3</a><br />
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<div class="MsoNormal">
<u>A GLOSSARY FOR PART “TWO”
OF RICOEUR’S PHENOMENOLOGY: </u>“WRITING
PHILOSOPHY FROM AN HISTORICAL PERSPECTIVE ; OR “HISTORICAL-GAZE: “8” concepts:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1.
"KOROS-KATOIKEO": "inhabited-space"
of verbal testimony is defined as an atomic unit of meaning.<o:p></o:p></div>
<div class="MsoNormal">
2. "OIKOUMENE": "inhabited-world"
of verbal testimony is defined as a compound unit that combines
"inhabited-space" and “cosmic-time”; and then enlisting the
motivation "EIKON" of the self to form a "historiographical
thought-picture of the truth of verbal testimony.<o:p></o:p></div>
<div class="MsoNormal">
3.
"METREO": "being
measured by one-another at the dokounta communal threshold. Where intersubjective critical questioning
results in labeling the proposed content as <o:p></o:p></div>
<div class="MsoNormal">
"Accredited" and then “thought-materials" are
ready for shaping into the "atomic-archival-document".<o:p></o:p></div>
<div class="MsoNormal">
4.
"ISORIKOS-BIBLIZION": "historical-document"
as written document. <o:p></o:p></div>
<div class="MsoNormal">
5.
"PHARMAKON": "pharmacy-mixture"
of a "remedy". Intentionality
of document is copied to consciousness with its praxis possibilities.<o:p></o:p></div>
<div class="MsoNormal">
6.
"ATENIDZO-PRAXIS: "GAZE". Very important for Ricoeur and all
post-modern phenomenologists. The GAZE
is the self's point of view while “standing-in” at the
"composition-threshold" where the proposed written "book"
will be written. Atomic-documents
assembled into compound-unit-book.<o:p></o:p></div>
<div class="MsoNormal">
7.
ATENIDZO-SYLLOGIKE': "INTERSUBJECTIVE-GAZE". This is what shapes the configuration of
"logos" at the historical level.
Everyone has their own "scale" that is applied to their
evaluation of events of history. Borrowed
from cartography or map-making. These
various "scales" or modalities and points-of-view can contribute to a
"collective" of traces (as in his discussion of memory. He is remaining consistent here).<o:p></o:p></div>
<br />
<div class="MsoNormal">
8. BIBLION - BOOK: the final
representation is to be critiqued by the categorical imperative of
"JUSTICE"; and the criterion to define the
"being-of-identity". But we
are not finished. Because the self has
raised the structure of history to scholarly written discourse. And it needs to run through the process again
and again. So we never really finalize
the process. History continues to be
interrogated for its meaning. The end!<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-54693906701053449862014-03-16T09:42:00.004-07:002014-03-16T09:48:42.609-07:00RICOEUR'S SYSTEMATIC PHENOMENOLOGY, VOLUME ONE<a href="http://www.mediafire.com/listen/gsd6d8bhk44yi8w/ricoeur2.mp3">click link: http://www.mediafire.com/listen/gsd6d8bhk44yi8w/ricoeur2.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">RICOEUR'S SYSTEMATIC PHENOMENOLOGY: IN 3 VOLUMES:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This singular book is actually an inclusive three-volume set of Ricoeur's entire phenomenology. I will review the volumes in order:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">VOLUME ONE: MEMORY:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">In this volume Ricoeur takes the reader through a second journey through his phenomenology, after its first presentation in the 1976 volume by TCU PRESS on "interpretation theory". Therefore we are dealing with the "remembered" on this second journey. And that is why volume three addresses "forgetting".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Beginning in the unconscious, Ricoeur tells us that we are initially engaged in "PATHEMA", OR ENDURING THE SENSATE LIFE AND ITS PRESENTATIONS. Our goal is to eventually form a tupos-model of ideation that can be imprinted within the self and actualized through praxis-based positing. We get a little assistance from counter-blow (Hegel's term) of returning influence from previous phenomenological and semantic experience. Ricoeur calls this the body-state "iconicity". The "EIKON" is rarely let loose of by Ricoeur; and as a body-state, that is experientially the case.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">We next move on to "GRAPHE", which is the inscribing of the self with the "pathe-enduring" as a "thought-picture", as a "PHANTASMA" founded on the influence of "EIKON". But it represents a singular kinetic-event.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Up we go to the communal influence next, to the "dokounta-threshold", where the encounter of a succession of kinetic-events is considered. There is the "arising" of a deeper encoded descriptive-model as a result.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Entering into the realm of "volition" and true-subjectivity; we first reach the actual "imprinting of the "TUPOS", as "virtual-ideal-notion". In other words, signs have been named. From here, we "copy" the ideal, while at the same time acquiring the praxis-based possibilities for a "practical-tupos".</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From here we enter the cognitive consciousness and the work of semantics. The key moment to realize here is Ricoeur's invention of the concept of "logos-of-indebtedness". We owe those who have gone before us. This underlies all semantic positing and return. The second key aspect of the semantic work is the concept of "collective-consciousness", which constitutes the "surpassing-moment" of transcendence. This is our stepping-up to the "composition-threshold", where we acquire the collection-of-traces" from shared "witnessing-of-truth". Propositional-content & illocutionary-form are exchanged; the "self" is refined to a greater level of understanding. We are ready to return to the unconscious-EIKON and begin again.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Ricoeur's 8 Greek moments of Memory are: 0. [ EIKON ] 1. PATHEMA. 2. GRAPHE. 3. PHANTASMA. 4. TUPOS-TECHNE. 5. TUPOS-PRAXIS. 6. ORTHOS-LOGOS. 7. OPHEILOS-LOGOS. 8. SULLEGO-ICKNE'.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-10837570962882564782014-03-11T16:11:00.004-07:002014-03-11T16:16:20.729-07:00MAX SCHELER: EMPIRICAL PSYCHOLOGY FOR HEIDEGGER'S POSITION<a href="http://www.mediafire.com/listen/c1ryipm3ndbxbfo/schelerpm.mp3">click link: http://www.mediafire.com/listen/c1ryipm3ndbxbfo/schelerpm.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">SCHELER’S “GESTALT-PSYCHOLOGY” TRANSFORMED HEIDEGGER:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">We all know that Husserl radically mentored Heidegger’s thought and caused Heidegger’s radical reading of Hegel. But for Heidegger, the overwhelming drive to stay centered in the unconscious and sensate existence, goes to Scheler. Scheler proposed that the existential hermeneutical range of “exchange, transformation, and metamorphosis” all can be understood by examining “lower-being” as it, itself climbs up through “higher-being”. And not the other way around where higher-teleology influences lower-being. There is no teleology for Scheler. Heidegger adopted this in full force.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Therefore, since Heidegger has almost been universally adopted by post-modern thinkers (especially in France); it is imperative to understand Heidegger’s own emergence. That means understanding SCHELER.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">EXCHANGE:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Scheler moves through the unconscious in moments of “ecstatic-impulsion” that display “force-centers” like expression, instinct, and association. This leads to an evolving “world-open-self” as a proto-subjectivity. “Spirit” makes its first appearance here. The existential-self engages in transforming environment for the first time; by forming a spirit-centered thought=picture where feeling-percepts are arranged in a first-value-order.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Scheler next moves to the dokounta-threshold of “a-priori-insight” and “turning”. We turn away from the sensate world and toward intersubjectivity. “essential-aspects” of the first thought-picture” are refined, by referring to a-priori essential ideas that we already carry, in our being “human”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">TRANSFORMATION:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">When Scheler copies the dokounta-image to the axis-threshold, he announces the triad of negation, conversion, and ingathering. In “negation”, the existential- self unveils the essential categories of value in the current model which seeks conceptualization and positing. In conversion, the partitioned concepts are constrained and concentrated to create the “ascetic-ideal”. In “ingathering”, spirit becomes “manifest”; the “notion-of-the-true” is ingathered within the self’s realm of ideation; ready for positing. But this “notion” is a “subjective-steering”, not an “objective-teleology”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">METAMORPHOSIS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">Welcome to the self’s work of cognition:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">“Positing” is “posited-steering”; where value-structure is posited in front of the sensate “life-of-drives”</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">“logos” is equated with “sublimation”; a temporal “gestalt-pattern” of emerging spirit makes itself known in subjective phantasmic-vision. Vision is coupled with “steering” and positing is directed toward this entrance-node in the emerging-event. The result is the presence of an “idea-conditioned” drive-driven-tendency”. Or LOGOS</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">“absolute-turn of metamorphosis” is the spirit-centeredness when drive-driven-tendencies are enchained into a greater whole. Sensate-world “turns” to service of “structure-of-life”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">HEIDEGGER LOVED IT; AND OPENLY PRAISED IT.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">This was written in 1928, toward the end of Scheler’s life. A Brief departing monograph of “brilliance”.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0tag:blogger.com,1999:blog-963256522103681842.post-45346476790975399872014-03-08T08:14:00.005-08:002014-03-08T08:20:17.798-08:00PAUL RICOEUR: SYNTHESIZES WITTGENSTEIN AND HUSSERL<a href="http://www.mediafire.com/listen/ac96cbeq4q9r8i3/ricoeur.mp3">click link: http://www.mediafire.com/listen/ac96cbeq4q9r8i3/ricoeur.mp3</a><br />
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<span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">RICOEUR SYNTHESIZES HUSSERL AND WITTGENSTEIN:</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">From 1976, when post-modern thinking was emerging like a volcano; Ricoeur developed the unique position of combining phenomenology with linguistics. This is similar to Badiou’s reading of Wittgenstein, which also helps to inform this text. Ricoeur pivots off the axis-threshold, but does not rely almost exclusively on the dokounta-threshold of unconsciousness. Instead, he introduces a healthy balance of the composition-threshold of consciousness. And you will appreciate his attentiveness to “LOGOS”. He offers a profound articulation of the three key aspects of “logos” that allow it to be rendered “objective”, and not merely “subjective”.</span><br style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;" /><span style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">His treatment of “counter-blow”, or Husserl’s “fringe”, as a contribution during the initial acquisition of atomic-propositions, is significant also. The “balance” within Ricoeur’s work allows it to excel in post-modern offerings. With all of the emphasis on “writing” today, concerning the composition-threshold, and the desire for “recognition”; Ricoeur addresses: RANGE, SIGNIFICATION, GENRE, and METAPHOR as essential aspects to cover at the threshold when “speech-act” transitions to “writing-act”. Given at Texas Christian university, from the lecture halls of Brite Divinity School; you will find these essays accessible, enlightening, and inclusive for defining Ricoeur’s position. 5 stars for certain. These lectures remove a great deal of ambiguity concerning the author’s position.</span>Anonymoushttp://www.blogger.com/profile/14481088538698503181noreply@blogger.com0