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By Matthew R. McLennan

Alain Badiou's paintings in philosophy, although daunting, has received a receptive and gradually starting to be Anglophone readership. what's no longer popular is the level to which Badiou's positions, vis-Á -vis ontology, ethics, politics and the very that means of philosophy, have been hammered out in dispute with the overdue Jean-François Lyotard. Matthew R. McLennan's Philosophy, Sophistry, Antiphilosophy is the 1st paintings to pose the query of the relation among Lyotard and Badiou, and in so doing constitutes an important intervention within the box of latest eu philosophy through revisiting one in every of its such a lot influential and arguable forefathers.Badiou himself has underscored the significance of Lyotard for his personal undertaking; may perhaps the new resurgence of curiosity in Lyotard be tied not directly to Badiou's reviews? Or deeper nonetheless: would possibly not Badiou's philosophical Platonism beg an come across with philosophy's different, the determine of the sophist that Lyotard performed so usually and so ably? Posing pertinent questions and commencing new discursive channels within the literature on those significant figures this e-book is of curiosity to these learning philosophy, rhetoric, literary conception, cultural and media experiences.

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Extra resources for Philosophy, Sophistry, Antiphilosophy: Badiou's Dispute With Lyotard (Bloomsbury Studies in Continental Philosophy)

Sample text

98). ). : 55) in every situation: a lack that haunts and destabilizes it and that, at the level of affect, creates an anxiety demanding relief, a properly encyclopaedic desire. e. what is uncounted and what would therefore simply not register; it is a matter of what the situation grasps as nothingness, of nonbeing gnawing at the situation from within. But strictly speaking this ‘nothingness’ is a misnomer since it is actually a naming of being. ‘Void’ is thus – from the perspective of the situation, to repeat once more – a proper name of being.

The mathematically sublime sentiment arising from such scenes begins from the fact that through reason one may realize that the concept of largeness and the numeric series may, logically if not logistically, be infinitely extended (Kant 2000). e. imagining it, or re-presenting it for another, as a totality). ). ). e. a presentation that there is, qu’il y a de l’imprésentable, even though the unpresentable itself cannot be presented). 18 For Kant, it is natural scenes of chaos that best provoke feelings of the sublime in the spectator, since disarray and devastation, on a great scale, call to mind intuitions of both absolute or infinite magnitude (the mathematically The Thinking of Being 25 sublime sentiment) and of absolute or infinite force (the dynamically sublime sentiment).

Lyotard also draws for example upon Freud, Augustine, Malraux, Paul and a number of artists to drive home essentially the same message: that human thought is vulnerable and radically finite, but also intrinsically resistant to totalization. As I argue elsewhere (McLennan 2013a), the late writings mark a shift to an additive strategy of witnessing, resembling Adorno’s ‘determinate negation’ (2007). The strategy is political in a very broad sense, since Lyotard maintains that the defence of human finitude and the irremediable remainder of thought against the inhuman logic of technoscientific development is likely all that remains of politics (Lyotard 1988c).

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