Dennis Schmidt is developing a way of thinking that has at its core his understanding of "idiom," especially in what he calls "original ethics" and "idiomatic truth." This paper engages that understanding, distinguishes linguistic idioms and "event idioms," shows the transformative effects in both his thought and his life that his focus on idioms has had and is having in the present direction of his constructive philosophy, and further shows that this direction has the potential to change considerably major aspects of contemporary continental philosophy.

This paper attempts to define Dennis J. Schmidt’s distinctive contribution to philosophy and to contemporary hermeneutics in particular under the heading of an ethical hermeneutics. The idea of an ethical hermeneutics is considered in relation to four aspects: 1) the element of practice as the constitutive element of ethical hermeneutics; 2) the force of practice: finitude; 3) the idiom as the place of finitude; 4) ethical hermeneutics and the domain of the common. The fourth aspect constitutes the critical engagement with the idea of an ethical hermeneutics, arguing that the notion of the common, which is underdeveloped in Schmidt’s writings, serves as a practical “concept” that takes the place of the theoretical concept in an ethical hermeneutics.

In this essay, I attempt to explore Dennis Schmidt’s pervasive claim throughout his work of a deep affinity between aesthetic experience and ethical life. In a discussion of what Schmidt calls the intensification of life, the essay shows how for Schmidt birth and death are moments that have a peculiar capacity to reveal what he calls the idiom of the ethical. At the end of the essay, I turn to Schmidt’s discussion of Greek tragedy as an exemplary site for his unique sense of original ethics.

This essay traces an astonishing shift in Denny Schmidt’s work, from his emphasis on tragedy and death in 2005’s Lyrical and Ethical Subjects, to an emphasis on the comic possibilities of life in Between Word and Image (2012). Simply put, his earlier book pivots most decisively on language and, as he writes, the ways that language “bears witness to finitude” (2). Between Word and Image, on the other hand, pivots decisively on the image and reveals for us the possibility that “painting is at its heart the presentation of the movement of life” (96). The essay ends with some questions about the specifically political upshot of Schmidt’s work on the relations among aesthetic experience and “life.”

In this article I address the question of writing and philosophical style as it is reflected on, and staged, by Dennis Schmidt’s work. I emphasize the relationship between Schmidt’s insistence on preserving a conception of beauty as productive for our current philosophical insights, and the way in which this is related to the call for, and implementation of, a “beautiful” style of philosophizing. In order to exemplify what I mean by this, I support some of my arguments with Friedrich Schiller’s reflections on philosophical style and his controversy around this issue with J. Gottlieb Fichte.

This essay is a response to Dennis Schmidt’s call for a reanimating of the philosophical imagination and for the inception of an original ethics. In this connection it undertakes an extended examination of the various meanings that the word ἦèïò has in a number of ancient texts. Passages are cited at length (and in translations as close as possible to the Greek) from Homer’s Odyssey, Hesiod’s Works and Days, a fragment by Empedocles, a tragic drama by Aeschylus, Xenophon’s Symposium, and Plato’s Republic, Symposium, Phaedrus, and Laws. Each passage is discussed in detail with specific focus on the meaning that the passage accords to ἦèïò.

The purpose of this essay is to take up the question of how an ethical con­sciousness emerges, that is where ethics might begin, and to ask about some of the consequences one might draw from this beginning. The essay argues that one site for thinking through such a beginning is the consciousness of mortality. To unpack such a claim, the essay takes up Heidegger’s discussion of this point in Being and Time as well as Derrida’s discussion of this consciousness in his seminar on Beast and Sovereign and his essay “Béliers.” The final stage of the argument concerns the sameness of birth and death for an understanding of ethical sense: both speak to the vulnerability and the absoluteness that expose the questions of ethical life, and both intensify a sense of what is at stake in such a life.

This paper explores a dimension of the contemporary western understanding of nature as it has been shaped by the thought of Hegel. Emblematic of a tradition that struggles to think nature on its own terms but which, more often than not, formulates it as the ground upon which human progress is built, Hegel’s philosophy sacrifices nature to spiritual progress. Orienting this study through Dennis J. Schmidt’s work on death and sacrifice in the dialectic, I trace Hegel’s formulation of the natural to show how the denigration of nature plays into a larger pattern evident in the western tradition, one that that positions the natural as somehow “outside” the political and spiritual, thereby subjecting it to mischaracterization and misuse. I conclude with a call for a post-sacrificial understanding of the natural world in an effort to help challenge the destructive force inherited by this tradition.

In this essay, the author argues that Dennis Schmidt’s considerations of ethical life, when taken together, comprise a prescient and distinctive response to Heidegger’s call to pursue an ‘original ethics.’ In this, Schmidt disavows discourses within the discipline of ethics that seek to establish an ethical theory or position, arguing instead that the demands of ethical life require us to focus on the incalculable singularity of the factical situations in which we find ourselves. The author suggests that Schmidt’s contributions to such an original ethical turns on Schmidt’s claims that the context of ethical life is fraught because bound up with radical finitude—though, for that very reason, also tender because marked by the need to care for one another in our vulnerability and fragileness.

This presentation is something of a performative response to the thrust and promise of Dennis Schmidt’s work in Between Word and Image, especially his reference to art as an ethopoetic event. My own art practice has led me to ask when art happens, about the event of art. Rilke was right: “you must change your life.” This means a break with the dominance of representation, calculation and Machenschaft. The idea that this means a renewal of dwelling, and that art can help, is for Denny the ethical promise of art. We here take up questions he sets aside—that of Nature and that of the possibility/efficacy of art today (Hegel/Adorno). I claim that earth art has distinctive ways of recalibrating our understanding of and engagement with space and time, which feed into what we mean by dwelling, our bearing in the world. This transforms how we think of questions of control with respect to Nature.

Of the many elements within Schmidt’s work that warrant discussion the attempt to differentiate the ethical from the conceptual is one of the most significant. That it is in part grounded in a reading of Kant makes it even more important. The aim of this essay is to question the way this differentiation is established and then justified. Part of the argument is to show the limits within Schmidt’s way of addressing what is central to any philosophical anthropology namely a concern with the being of being human.

This essay explores Dennis Schmidt’s notion of an “original ethics,” asking how language, freedom and history are at work in this original ethics. The essay first examines Schmidt’s claim that philosophy has traditionally understood ethical and political life as rooted in a subject ruled entirely by what he calls “the law of the common.” The essay specifically looks at how Plato and Hobbes embrace the law of the common, expelling thereby the law of the idiom from their respective ethical and political thought. The essay then turns to an examination of Schmidt’s “original ethics” which he claims offers a way out from the law of the common and the logic of Machenschaft that animates this law. In conclusion, the essay expresses a concern on whether Schmidt can move as seamlessly as he seems to claim from an original ethics to political being in common, asking of the role of judgment in Schmidt’s original ethics.

At 252e1 to 253c9 in Plato’s Sophist, the Eleatic Visitor explains why philosophy is a science. Like the art of grammar, philosophical knowledge corresponds to a generic structure of discrete kinds and is acquired by systematic analysis of how these kinds intermingle. In the literature, the Visitor’s science is either understood as an expression of a mature and authentic platonic metaphysics, or as a sophisticated illusion staged to illustrate the seductive lure of sophistic deception. By showing how the Visitor’s account of the science of philosophy is just as comprehensive, phantasmatic and self-concealing as the art of sophistry identified at the dialogue’s outset, this paper argues in favor of the latter view.

In this paper, I begin with an account of the initial distinction between likenesses and appearances, a distinction which may resemble the difference between sophists and philosophers. That distinction first arises immediately after the puzzling appearance of the noble sophist, who seems to occupy an odd space in between sophist and philosopher. In the second section, I look more closely at the noble sophist, and on what that figure might tell us about images and the use of images. I also attempt to use the insights provided by the noble sophist in an investigation of the kind of images that Plato the author produces. This raises the question of the general notion of image as it appears in the Sophist, and especially of the dual nature of all images, which in turn invites reflection on certain features of the examination of being and non-being late in the dialogue. Finally, I return to the deception inherent in images, and I argue that this dialogue does not present the possibility of completely honest images. Nevertheless, I hope to show that some uses of deceptions and images are better than others.

Kant’s geographical theory, which was informed by contemporary travel reports, diaries, and journals, developed before his so-called “critical turn.” There are several reasons to study Kant’s lectures and material on geography. The geography provided Kant with terms, concepts, and metaphors which he employed in order to present or elucidate the critical philosophy. Some of the germs of what would become Kant’s critical philosophy can already be detected in the geography course. Finally, Kant’s geography is also one (though not the only) source of some of the empirical claims in his philosophical works, including the Critique of the Power of Judgment. To give an example of this, I examine his account of the sublime.

This article investigates the relation between freedom, the public use of reason, and sensus communis, as discussed throughout Kant’s political writings and critical works. Kant’s discussion of the public use of reason, as put forth in "What Is Enlightenment?" is closely tied to his views on autonomy, most notably in the political sphere. However, Kant’s distinction between the public and private uses of reason relies upon sensus communis as discussed in the Critique of Judgment. The communicability achieved by sensus communis has a relevance not restricted only to Kant’s explicitly political writings; sensus communis is also what we might call “transcendentally significant.” In this article, I argue that the public use of reason—a use of reason achieved by sensus communis—is vital for reason itself to follow its own normative demands. I conclude that sensus communis itself grounds reason’s use for its own critique.

Spinoza’s limited words on the subject of art has led many to claim that his philosophy is incompatible and even hostile to a theory of art. Such a critique begins by confusing modern aesthetic standards with Spinoza’s actual words on art and its objects. Beginning with this confusion, this paper will argue that Spinoza’s philosophy naturalises the work of art and conceives of things such as paintings and temples through his theory of complex bodies.Turning to the two places that Spinoza discuss art—IIIP2Schol and IVP45Schol—this paper will argue that Spinoza understood works of art to be particularly complex and hence powerful extended bodies with a use value relative to the striving of the human individual. Accordingly it will be argued that because Spinoza conceived works of art to be external bodies–artistic bodies–, we should therefore begin to study art and its objects through Spinoza’s relational theory of the individual.

In this paper, the author argues that the revelatory form Parmenides gives his poem poses considerable problems for the account of being contained therein. The poem moves through a series of problems, each building on the last: the problem of particularity, the cause of human wandering that the goddess would have us ascend beyond (B1); the problem of speech, whose heterogeneity evinces its tie to experience’s particularity (B2-B7); the problem of justice, which motivates man’s ascent from his “insecure” place in being, only ultimately to undermine it (B8.1-49); and finally the question of the good, the necessary consequence of man’s place in being as being out-of-place in being (B8.50-B19). What emerges is a Socratic reading of Parmenides’s poem, a view that Plato appears to have shared by using Parmenides and his Eleatic stranger to frame the bulk of Socrates’s philosophic activity.

The belief that Aristotle opposes potency (dunamis) to actuality (energeia or entelecheia) has gone untested. This essay defines and distinguishes forms of the Opposition Hypothesis—the Actualization, Privation, and Modal—examining the texts and arguments adduced to support them. Using Aristotle’s own account of opposition, the texts appear instead to show that potency and actuality are compatible, while arguments for their opposition produce intractable problems. Notably, Aristotle’s refutation of the Megarian Identity Hypothesis applies with equal or greater force to the Opposition Hypothesis. For Aristotle, then, potency and actuality are compatible.