I offer a re-evaluation of Freudian melancholy by reading it in-conjunction with Merleau-Ponty’s analysis of phantom limbs and Marcel Proust’s involuntary memories. As an affective response to loss, melancholy bears a strange, belated temporality (Nachträglichkeit). Through Merleau-Ponty’s analysis of the phantom limb, I emphasize that the melancholic subject remains affectively bound to a past world. While this can be read as problematic insofar as the subject is attuned to both the possibilities that belong to the present and the impossibilities that belong to the past world, I turn to Proust whose writings on involuntary memory indicate a way of taking up these futural (im)possibilities. I focus the discussion on the narrator’s involuntary memory of his grandmother after her death to highlight the creative transformation of his melancholy.

Martin Heidegger’s critique of modernity, and his vision of what may come after it, constitutes a sustained argument across the arc of his career. Does Hans-Georg Gadamer follow Heidegger’s path of making possible “another beginning” after the modern age? In this article, I show that, in contrast to Heidegger, Gadamer cultivates modernity’s hidden resources. We can gain insight into Gadamer’s difference from Heidegger on this fundamental point with reference to his ambivalence toward and departure from two of Heidegger’s touchstones for postmodernity, namely, Friedrich Nietzsche and Friedrich Hölderlin. We can appreciate and motivate Gadamer’s proposal to rehabilitate modernity by juxtaposing his rootedness in Wilhelm Dilthey and Rainer Maria Rilke with Heidegger’s corresponding interest in Nietzsche and Hölderlin. This difference in influences and conceptual starting points demonstrates Heidegger and Gadamer’s competing approaches to the modern age, a contrast that I concretize through a close reading of Gadamer’s choice of a poem by Rilke as the epigraph to Truth and Method

This article attempts to read the very concept of reading as articulated and problematized by Derrida’s newly discovered Geschlecht III. I argue that Derrida enacts a reading of Heidegger in Geschlecht III in ways that help us understand the strong sense Derrida gives this word. In the article’s first part, I dwell on Derrida’s—and Heidegger’s—(quasi)methodological precautions that problematize the traditional concept of reading so as to open the way for a reading of Heidegger that does not bank on the metaphysical presuppositions the very same Heidegger warns us against time and again. In the second part, I turn to Derrida’s topotypological examples that show us what traditional methodology problematically presupposes when “reading” Heidegger. The article ends by turning to the Derridean notion of “overprinting”—and the uncanny effects of doubling it implies—as a way to think about what it means to read and countersign Heidegger’s text.

The reformulation of the subject as the gifted allows Jean-Luc Marion to incorporate saturated phenomena into his phenomenology but also introduces a serious problem to his project. Specifically, when confronted with the choice between absolute, unconditioned phenomena and the active role of the gifted, Marion chooses the unconditioned phenomena, and as a result, his project loses the ability to maintain meaning. In response to this issue, I advocate for a more active role for the gifted by turning to Iain Thomson’s recent work on Heidegger. I conclude by affirming the validity of a more active role for the gifted by turning to Heidegger’s early lectures on the phenomenology of religion. My aim will be to show that this more active role still allows the gifted to be affected by the phenomenon and can avoid the problems of objectivity and ontotheology, while better preserving the account of meaning.