Search Results (42)

Rapid and large-scale urban transformations destabilize historical continuity in both the material fabric of cities and the theoretical assumptions guiding urban design. This review reconceptualizes tabula rasa and palimpsest as a negative dialectic through which historical dis/continuity can be critically interpreted. Drawing on Henri Lefebvre’s account of the production of space and Marc Augé’s notion of non-place, tabula rasa is understood not as a neutral void but as a historically produced condition of erasure. Paul Ricoeur’s distinction between reconstruction memory and repetition memory informs an interpretation of the palimpsest as an active process of selective re-inscription, rather than a passive accumulation. Through engagement with Fredric Jameson’s cognitive mapping and Aldo van Eyck’s configurative discipline, the article advances methodological orientations for operating in contexts where historical anchors are attenuated or selectively preserved. Analyses of mapping and superposition techniques in the Parc de La Villette competition proposals by OMA/Rem Koolhaas and Peter Eisenman illustrate how dialectical strategies generate form under conditions of unstable continuity. The study argues that urban design necessitates neither presuming uninterrupted historical transmission nor treating erasure as neutral. By framing tabula rasa and palimpsest as mutually constitutive processes, the article clarifies how historical dis/continuity shapes contemporary urban form and proposes methodological instruments for engaging it critically. Full article

From its esteemed place as the queen of the sciences in the medieval period, theology has suffered in the public eye in comparison to philosophy. While philosophy came to be more esteemed, especially in early modernity, theology was relegated to private, secondary status. In the modernist paradigm, theology was seen as too biased to be objective and fully rational. While theology and philosophy had worked hand in hand in the medieval period, in the modern period, they essentially went through a divorce. They became separated in terms of disciplines, methods, ethos, and even schools. The relationship often became hostile. The cracking of the modern framework in the last century, however, has reshaped both. New possibilities have emerged, yet not without continued strain, not unlike fractured families who continue to have ties that draw them together. Given that these two disciplines are foremost in the quest for truth and meaning, these new possibilities of an amicable relationship are what I would like to explore. Full article

In her excellent volume Open Socrates: The Case for a Philosophical Life, Agnes Callard juxtaposes Socrates’s conclusion that the meaningfulness of life is a function of consistent critical inquiry into existence with Leo Tolstoy’s contrary insistence that existential meaning ensues from living life without constant interruptions of self-reflection. These two perspectives functionally identify the tension between whether individuals may linguistically express opinions on truth and meaning or must negotiate in some manner with an inescapable silence regarding how best to comprehend and communicate discrete interpretations of the significance and veracity of lived experience. This present article investigates that tension and how it depends on the poetic and apophatic characteristics of language to both Say and Unsay how meaning and truth may be conceived. Salient positions from Ludwig Wittgenstein and William Franke provide introductory material to set the context for a closer examination of the complementary hermeneutics of the French philosopher Paul Ricoeur and the American poet Wallace Stevens. Both thinkers concur that properly analyzing meaning and truth requires a reliance on the creative imagination with its privileging of poetic language and its dependence on the humility of an incredulous faith in approximating an operative asymptotic approach to existential meaning. Full article

This paper examines how young adults integrate generative artificial intelligence chatbots into everyday life and the implications of these engagements for the constitution of selfhood. Whilst existing research on AI-mediated subjectivity has predominantly employed identity frameworks centered on social positioning and role enactment, this study foregrounds selfhood—understood as the organization of subjective experience through narrative coherence, interpretive authority, and practices of self-governance. Drawing upon Paul Ricœur’s theory of narrative self and Michel Foucault’s concept of technologies of the self, the analysis proceeds through in-depth qualitative interviews with sixteen young adults in Norway to investigate how algorithmic systems participate in autobiographical reasoning and self-formative practices. The findings reveal four dialectical tensions structuring participants’ engagements with ChatGPT: between instrumental efficiency and existential unease; between algorithmic scaffolding and relational displacement; between narrative depth and epistemic superficiality; and between agency and deliberative outsourcing. The analysis demonstrates that AI-mediated practices extend beyond instrumental utility to reconfigure fundamental dimensions of subjectivity, raising questions about interpretive authority, narrative authorship, and the conditions under which selfhood is negotiated in algorithmic environments. These findings contribute to debates on digital subjectivity, algorithmic governance, and the societal implications of AI systems that increasingly function as interlocutors in meaning-making processes. Full article

The primary goal of my paper is to elaborate a methodology for literary interpretation that points out how a literary narrative prose text interprets its own characters, plots, and existential problems. In this context, one of the main premises of my remarks is that interpretation, is not the privilege of the act of reading. Misreading, or the “sins” of ideological interpretation can only be avoided if it is recognized that reading and interpretation are problems of the text itself. Beyond the formalist, structuralist, and poststructuralist methodologies of literary analysis, I found in Paul Ricœur’s Biblical hermeneutics the interpretive process and conceptual system that are able to reveal the self-interpretive functions of literary narrative works. According to him, there is a special type of text: the interpretive narrative. The interpretive narrative as a special genre designation refers to the Gospels’ narrative presentation of the passion. In a nutshell: the essence of interpretive narrative is that there is a text interpreting process, which is achieved by the narrative discourse itself (“before” any act of reading). In accordance with the results of Biblical hermeneutics but focusing on literary interpretation, I would like to elaborate on the notion of narrative parallelism in order to reveal those poetic conditions of literary narrative by which misreading or the “sins” of ideological reading can be eliminated. Narrative parallelism is a special type of metaphorical process in which a personal story is interpreted by the story of an object. Literary narrative prose has a specific and unique “virtue” compared to other literary genres or non-literary narratives: using descriptive discourse prose language recognizes, reveals, and narrativizes the significance of details. The second premise of my remarks is that the seemingly secondary narrativized details, or the seemingly insignificant stories of the objects, serve as the interpretation of the literary narrative’s central aspects, namely characters, plots, and existential problems. The interpretation of the presentation of the main character’s story is prefigured in a semantic way by the text itself. I would like to explore the main processes of narrative parallelism as an interpretive narrative by the explanation of a short story’s (A. Moravia: Friendship) twofold emplotment. Full article

This article proposes a reading of A.I. Artificial Intelligence (2001) as the spiritual swan song of Stanley Kubrick, even though it was completed posthumously by Steven Spielberg. Conceived and developed by Kubrick from the 1970s until the late 1990s, the film emerges as a profound meditation on life, death, and the persistence of memory—one that continues to resonate through another author’s hand. It stands as a singular case of authorial transmission, where Spielberg’s intervention operates less as completion than as curatorship: the act of listening to, translating, and preserving a vision projected beyond its creator’s lifetime. Beyond its production history, which includes Kubrick’s long collaboration with writer Ian Watson, the early story treatments, and Spielberg’s eventual reinterpretation of Kubrick’s design materials and narrative architecture, this essay advances a philosophical reflection on A.I. as a mediated testamentary work. Drawing on the thoughts of Paul Ricoeur, Jacques Derrida, and Maurice Blanchot, it examines how questions of authorship, memory, and narrative closure intersect with the film’s ontological and affective dimensions. Through these lenses, A.I. reveals itself as both an allegory of survival and a reflection on artistic legacy—suggesting that a swan song may endure beyond its maker, preserved through the curatorship and imagination of another. Full article

This study examines al-Mufaḍḍaliyyāt anthology as a foundational corpus wherein pre-Islamic and early Islamic Arabic poetry emerged not only as a cultural artifact but as a generative locus for theological reflection. Through a close reading of selected poems and nuanced engagement with the figurative language specifically metaphor, personification, and symbolic narrative, the research situates poetry as a mode of epistemic inquiry that articulates religious meaning alongside Qurʾānic revelation. Drawing on ʿAbd al-Qāhir al-Jurjānī’s theory of semantic structure and metaphor, in dialogue with Paul Ricoeur’s conception of metaphor as imaginative cognition, the study proposes that poetic discourse operates as a site of “imaginative theology”, i.e., a space wherein the abstract is rendered sensorially legible and metaphysical concepts are dramatized in affective and embodied terms. The analysis reveals how key Qurʾānic themes including divine will, mortality, ethical restraint are anticipated, echoed, and reconfigured through poetic imagery. Thus, al-Mufaḍḍaliyyāt is not merely a literary corpus vis-à-vis Islamic scripture but also functions as an active interlocutor in the formation of early Islamic moral and theological imagination. This interdisciplinary inquiry contributes to broader discussions on the interpenetration of poetics and theology as well as on the cognitive capacities of literature to shape religious consciousness. Full article

Agape, philia, and eros are the forms of love that receive most attention in the work of the French philosopher Paul Ricœur. The general consensus among commentators is that when Ricœur talks about agape, he means a love that is all about giving, with no expectation of receiving anything in return; and when he talks about eros, he means something close to erotic love or erotic desire. This article builds on the research of two French commentators, Olivier Abel and Jérôme Porée, to offer a more detailed account of what Ricœur says about love of neighbour and concern for others, and where he says it, during one very specific period: 1947–1960. That is the period when Ricœur was very committed to education reform in France. However, the article disputes Abel and Porée’s interpretation of what Ricœur means by eros in Fallible Man, a work of philosophical anthropology published in 1960. The article shows that Ricœur’s interpretation of eros, far from being the standard one, is in fact highly original, and a perfect example of the imaginative use of philosophical resources that marked his early career. The article also discusses The Symbolism of Evil, a second work of philosophical anthropology that Ricœur published the very same year. In the context of that discussion, it draws attention to two references to “love” that link back to the eros of Fallible Man. It then offers a close reading of Marguerite Léna’s insightful commentary on a remarkable passage from The Symbolism of Evil, where Ricœur talks about the essential roles that love and fear play in all forms of education, including moral education. Full article

This article examines how national identity is constructed through religious representations in the poetry of Nikoloz Baratashvili, one of the leading figures of 19th-century Georgian Romanticism. Through a text-centered analysis of four key poems, it explores how a religious memory woven around motifs of sacred silence, divine absence, and sacrificial imagery is transformed into a poetic narrative within a postcolonial context. Drawing on the theoretical frameworks of Søren Kierkegaard, Paul Ricoeur, Edward Said, and post-Soviet Georgian thinkers, the study interprets Baratashvili’s poetry as an expression of an existential national narrative. It argues that the poet’s poetics articulate both individual and collective trauma and that the nation is reimagined as a metaphysical community. In this regard, the study offers an interdisciplinary contribution focused on how the Georgian national genealogy is constructed poetically, the role of Orthodox cultural symbolism, and the impact of colonial modernity. Full article

This article re-examines Julio Cortázar’s “Continuity of Parks” (1956) and “Instructions for John Howell” (1963) through the lens of reader-response theory, hermeneutics, and cognitive narratology. Traditionally viewed as examples of the fantastic, these stories are interpreted here as complementary explorations of passive and active reading, offering a literary dialectic that parallels the reflections articulated in Cortázar’s Rayuela [Hopscotch] (1963). Drawing on Wolfgang Iser’s theories of textual gaps and reader cooperation, Paul Ricoeur’s hermeneutics of appropriation, and more recent approaches to cognitive immersion and narrative engagement, this study argues that both stories dramatize reading as an ethical and political act. “Continuity of Parks” illustrates the dangers of uncritical textual consumption, culminating in the protagonist’s epistemic and existential annihilation, while “Instructions for John Howell” presents a model of insurgent readership, where the spectator’s appropriation of the play foregrounds the risks and possibilities of narrative intervention. By analyzing the use of metalepsis, destabilized focalization, and narrative layering in these stories, this article highlights how Cortázar anticipates contemporary concerns regarding reader agency, interpretive autonomy, and the sociopolitical implications of literary engagement. Full article

The turn away from phenomenology in 20th century French philosophy was in large part due to an increased emphasis on Ferdinand de Saussure’s notion of “linguistic structure”, i.e., that language is the internal system of differences between signs. Thinkers such as Paul Ricoeur and Jean-François Lyotard famously offered a “semiological challenge” to phenomenology. The idea was that phenomenology, especially Merleau-Ponty’s phenomenology, reduces to the sensible world and cannot think linguistic structure. Thus, the argument goes that phenomenology leaves out a basic element of human life: not only can it not think linguistic structure, but it also cannot think about elements, e.g., writing and text, which are its result. This paper takes up this challenge, especially in reference to Merleau-Ponty’s terminology in Phenomenology of Perception of “speaking speech” (parole parlante) and “spoken speech” (parole parlée). I point out that, in retrospect of his later work, Merleau-Ponty very clearly did want to take linguistic structure seriously. This, however, means that we need to reconsider some of the basic themes in his work. Taking inspiration from the recently published “problem of speech” lectures, I reconstruct Merleau-Ponty’s idea that speech is a concrete limit situation from which we get both the idea of a language structure in which there are differences and of an ontological difference between being and beings. This is an internal criticism of both linguistic structure and formal ontology. I begin the paper by noting that, in Merleau-Ponty’s descriptions of the tacit and spoken cogito, also in Phenomenology of Perception, Merleau-Ponty criticizes the notion of a subject to which language refers and highlights the notion of a subject that defies representational and denotational structure. I do not, however, go along with Merleau-Ponty’s own criticism of the tacit ego, which he ultimately declared too subjectivistic. Ultimately, I hope to stress the importance of linguistic structure and writing in Merleau-Ponty’s ontology. This is an ontology of that is fragile and requires symbolization. This paper emphasizes under-developed themes in Merleau-Ponty’s work such as bodily event, difference, symbolization, and the writing of philosophy. Full article

This article reconsiders literature’s capacity to express and evoke spiritual experiences by turning to William James’s The Varieties of Religious Experience, especially his discussion of mysticism and his suggestion that poetry can bring about such states. James’s ideas are especially promising given recent developments in postsecular and postcritical scholarship that problematize a religious/secular divide and call into question a hermeneutics of suspicion. Bringing James into conversation with Paul Ricoeur, I aim to show how receptivity to spiritual experiences in literature might generate expansive models of both poetics and hermeneutics. To pursue these possibilities, my study analyzes three examples of Victorian lyric poems that probe the edges of wonder: Thomas Hardy’s “The Darkling Thrush”, Gerard Manley Hopkins’s “Nondum” and Dollie Radford’s “A Dream of ‘Dreams’”. These case studies strategically select work by writers of various belief or unbelief positions, highlighting the dynamism of the late nineteenth-century moment from which James’s writings emerged. I argue that this poetry facilitates a re-imagination of hope, beyond a faith/doubt dichotomy, as well as a re-framing of revelation, from proclamation to invitation. Building on insights from both James and Ricoeur, my discussion concludes by making the case for cultivating an interpretive disposition that does not guard against but opens toward poetry’s latent potential to take readers by surprise. Full article

The following essay evaluates the concept of the trace within extended mind (EM) theory. It begins by differentiating Andy Clark’s complementarity from several competing models. Second, it demonstrates how an undeveloped concept of the trace arises in Clark’s debate with internalist critics. In response, I introduce Paul Ricoeur’s metaphor of the imprint in Memory, History, Forgetting. Fourth, the recent debate about the plastic trace will be applied in this context. In so doing, the legacy of Jacques Derrida will be rehabilitated. I conclude with EM’s renewed promise to model deliberations between religiously diverse people. Full article

In my paper, I will outline how Ricoeur’s early phenomenological interpretation of the symbol provides the starting point for the later phenomenological hermeneutics of freedom, and how the transition can be defined, which led him from the early phenomenology of the symbol to the biblical hermeneutics and Christian ethics of freedom. Full article

Paul Ricœur’s narrative hermeneutic provides a unique lens for interpreting liturgy as narrative. Liturgy begins with the collective, prefigured knowledge of the assembly and configures symbols, music, prayers, scriptures, and actions into an interpretive narrative. This process engages the liturgical assembly’s imagination to synthesize its unique narrative of God’s divine story. This paper explores the function of imagination in the formative process of liturgical narrative arguing that imagination shapes human knowing and being through liturgical narrative. Full article