This paper examines the possibility of friendship across differences in Richard Wright's Native Son by examining the protagonist's relationship to three pivotal white characters in the text. Through the application to Native Son of a theory of friendship I cull from Heidegger's discussion of care in Being and Time, I offer a model for relationships whereby radically different individuals may approach each other across across spite of differences. In putting Heidegger and Wright into dialogue I both shed light on the intricacies of inter-subjective relations depicted by Wright as well as give depth to an obscure passage regarding inter-subjective relations in Heidegger's Being and Time.

This paper attempts to reconcile, what appear to be, two conflicting accounts of authenticity in Heidegger's thought. Authenticity in Being and Time (1927) is commonly interpreted in 'existentialist' terms as willful commitment and resoluteness (Entschlossenheit) in the face of one's own death but, by the late 1930's, is reintroduced in terms of Gelassenlieit, as a non-willful openness that "lets beings be." By employing Heidegger's conception of authentic historicality (Geschiclidichkeit), understood as the retrieval of Dasein's past, and drawing on his writings on Hölderlin in the 1930'sand 1940's, I suggest that the ancient interpretation of leisure and festivity may play an important role in unifying these conflicting accounts. Genuine leisure, interpreted as a form of play (Spiel), frees us from inauthentic busy-ness and gives us an opening to face the abyssal nature of our own being and the mystery that "beings are" in the flrst place. To this end, leisure re-connects us with wonder (Erstaunen) as the original temperament of Western thought. In leisurely wonder, the authentic self does not seek purposive mastery and control over beings but calmly accepts the unsettledness ofbeing and is, as a result, allowed into the original openness or space of play of time (Zeit-Spiel-Raum) that lets beings emerge-into-presence on their own terms.

This article explores the different ways in which suffering is represented iconographically in Christianity and in Buddhism. The disparate images of Christ nailed to a cross and Buddha sitting serenely under a tree surest diametrically opposed attitudes toward the role of suffering in religion. In line with the suggestion posed by a Tibetan lama to the author, this article seeks to demonstrate that these various approaches to suffering—seeking redemption through suffering versus transcendence of suffering—are at a deeper level not in actuality different. This rapprochement is achieved through appealing to Jungian and post-Jungian theories in situating Christ and Buddha within a singular process of psychospiritual transformation.

This essay analyzes Marcel Proust's claim that "Crime and Punishment" could be the title of all of Dostoevskys novels. Although Proust reveals some important points regarding the motivation for Dostoevskys writings, his account is also inadequate in some relevant respects. For example, while Proust calls our attention to what happens to victimizers, he ignores the perspective of victims; thus Ivan Karamazovs challenge remains unaccounted for in Proust's interpretation. More importantly Proust does not account for Dostoevsky's optimism, which, in connection with his realism, is the central aspect of Dostoevsky novelistic and philosophical approach.

This study rationally reconstructs Novalis's linguistic theory. It traces Novaliss assessment of earlier linguistic debates, illustrates Novaliss transformation of their central questions and uncovers Novaliss unique methodological proposal. It argues that in his critical engagement with Idealism, particularly regarding problems of representation and regulative positing, Novalis recognizes the need for both a philosophy of language and the artistic language designed to execute it. The paper contextualizes Novalis's linguistic appropriation and repudiation of Kant and explains how, even while Novaliss linguistic theory issues Kantianism such a challenge, it also begins to demonstrate the application of Kantian designs to linguistic philosophy. The modernity and potential of Novaliss proposal is evaluated and its significance for discussions in linguistic philosophy and aesthetics is advocated.

Poet and playwright Johann Wolfgang von Goethe's scientific studies grew out of a disenchantment with the reductionist science of his time. He believed a more accurate description of nature was possible. Goethe's scientific method paralleled the methodology of art current in his era, and very likely arose, at least in part, from pre-existing traditions of knowledge in the visual arts. The study of similarities between Goethe's scientific method and the methodology of art couldprovide insights into both disciplines, and insights into the intentions that drove Goethes scientific studies.

Proprioception has been considered, within neuroscience, in the context of the control of movement. Here we discuss a possible second role for this 'sixth sense', pleasure in and of movement,homologous with the recently described affective touch. We speculate on its evolution and place in human society and suggest that pleasure in movement may depend not on feedback but also on harmony between intention and action. Examples come from expert movers, dancers and sportsmen, and from those without proprioception due to neurological impairment. Finally we suggest that affective proprioception may help bind our sense of agency with our embodied selves at an emotional level.

The article introduces the phenomenological idea of 'natural attitude' in the field of dance. Three phenomena, which very clearly show the embodiment of the natural attitude and its resistance to the requirements of dance, are analyzed. The 'controlling gaze' is the natural tendency to look at the limbs andfollow their movements instead of proprioceptive control The 'chess play' is a natural tendency of moving on the flat surface and ignoring the volume of movement. The 'seduction' is a natural tendency to lose the body-self because of an interference with the others body. The dancing body has constantly to deal with these natural inclinations. And a dance teacher has to understand this split between 'ought' and 'is'.