Writing Otherwise than Seeing : Writing and Exteriority in Maurice Blanchot

Maurice Blanchot (1907-2003), the French writer and novelist, is one of the most important figures in post-war French literature and philosophy. The main intention of this study is to figure out his position and originality in the field of phenomenology. Since this thesis concentrates on the notion of vision in Blanchot s work, its primary context is the post-war discussion of the relation between seeing and thinking in France, and particularly the discussion of the conditions of non-violent vision and language. The focus will be on the philosophical conversation between Blanchot and his contemporary philosophers. The central premise is the following: Blanchot relates the criticism of vision to the criticism of the representative model of language. In this thesis, Blanchot s definition of literary language as the refusal to reveal anything is read as a reference pointing in two directions. First, to Hegel s idea of naming as negativity which reveals Being incrementally to man, and second, to Heidegger s idea of poetry as the simultaneity of revealing and withdrawal; the aim is to prove that eventually Blanchot opposes both Hegel s idea of naming as a gradual revelation of the totality of being and Heidegger s conception of poetry as a way of revealing the truth of Being. My other central hypothesis is that for Blanchot, the criticism of the privilege of vision is always related to the problematic of the exteriority. The principal intention is to trace how Blanchot s idea of language as infinity and exteriority challenges both the Hegelian idea of naming as conceptualizing things and Heidegger s concept of language as a way to truth (as aletheia). The intention is to show how Blanchot, with his concepts of fascination, resemblance and image, both affirms and challenges the central points of Heidegger s thinking on language. Blanchot s originality in, and contribution to, the discussion about the violence of vision and language is found in his answer to the question of how to approach the other by avoiding the worst violence . I claim that by criticizing the idea of language as naming both in Hegel and Heidegger, Blanchot generates an account of language which, since it neither negates nor creates Being, is beyond the metaphysical opposition between Being and non-Being.

Ajan sisäkkäiset tilat. Arkkitehtuuri, valokuva ja menneisyyden esittäminen W. G. Sebaldin romaanissa Austerlitz

In her thesis, Kaisa Kaakinen analyzes how the German emigrant author W. G. Sebald (1944-2001) uses architecture and photography in his last novel "Austerlitz" to represent time, history and remembering. Sebald describes time in spatial terms: it is like a building, the rooms and chambers of which are connected to each other. The poetics of spatial time manifests itself on multiple levels of the text. Kaakinen traces it in architectural representations, photographic images, intertextuality, as well as in the form of the text, using the concept of spatial form by Joseph Frank. Architectural and photographic representations serve as meeting points for different aspects and angles of the novel and illustrate the idea of a layered present that has multiple connections to the past. The novel tells a story of Jacques Austerlitz, who as a small child was sent from Prague to Britain in one of the so-called Kindertransports that saved children from Central Europe occupied by the National Socialists. Only gradually he remembers his Jewish parents, who have most likely perished in Nazi concentration camps. The novel brings the problematic of writing about another person's past to the fore by the fact that Austerlitz's story is told by an anonymous narrator, Austerlitz's interlocutor, who listens to and writes down Austerlitz's story. Kaakinen devotes the final part of her thesis to study the demands of representing a historical trauma, drawing on authors such as Dominick LaCapra and Michael Rothberg. Through the analysis of architectural and photographic representations in the novel, she demonstrates how Austerlitz highlights the sense of singularity and inaccessibility of memories of an individual, while also stressing the necessity - and therefore a certain kind of possibility - of passing these memories to another person. The coexistence of traumatic narrowness and of the infinity of history is reflected in ambivalent buildings. Some buildings in the novel resemble reversible figures: they can be perceived simultaneously as ruins and as construction sites. Buildings are also shown to be able to both cover and preserve memories - an idea that also is repeated in the use of photography, which tends to both replace memories and cause an experience of the presence of an absent thing. Commenting and critisizing some recent studies on Sebald, the author develops a reading which stresses the ambivalence inherent in Sebald's view on history and historiography. Austerlitz shows the need to recognize the inevitable absence of the past as well as the distance from the experiences of others. Equally important, however, is the refusal to give up narrating the past: Sebald's novel stresses the necessity to preserve the sites of the past, which carry silent traces of vanished life. The poetics of Austerlitz reflects the paradox of the simultaneous impossibility and indispensability of writing history.

Certainty or Faith? Arendt's and Merleau-Ponty's Critique of Cartesian Foundationalism

Epistemological foundationalism has for centuries attempted to unify all scientific inquiry into the context of one grand science, the first philosophy. One of the most important tasks of this tradition has been to ground all knowledge on absolutely certain foundations. In this master s thesis I ask the following question: To what extent and under what conditions is it possible to achieve absolute certainty in the sense of the attempts of Cartesian foundationalism? By examining how the 20th century philosophers, Edmund Husserl (1859-1938), Hannah Arendt (1906-1975) and Maurice Merleau-Ponty (1908-1961) interpret the epistemological methodology of René Descartes, I claim that the Cartesian achievement of absolute certainty rests on the implicit presupposition of an epistemologically prior form of faith in the world and trust (pistis) in other conscious beings. I show that knowledge is possible only within the context of a common world that is inhabited by several conscious beings that share a common linguistic system. This threefold element is shown to be the bedrock condition for any kind of philosophical inquiry. The main literature sources for this thesis are The Life of the Mind by Hannah Arendt, Le Visible et l invisible by Maurice Merleau-Ponty, Meditationes de Prima Philosophiae by René Descartes and Erfahrung und Urteil by Edmund Husserl.

Reproduction of portrait of field chaplain Rabbi Dr. Sali Levi Military; World War I; Portraits

Feldrabbiner Dr. Sali Lewi, Breslau

Fritz Gottschalk and his children boating on a mountain lake; Titisee, Germany.

From left to right: Ursula, Walter, Hal, Kurt, Fritz, and Elizabeth Gottschalk; the lake is probably the Titisee near the Swiss border in the Black Forest, Germany

Kurt and Hans Ludwig (Hal) Gottschalk on "skateboards" in front of Kurhaus Brunig; Norderney, Germany. Portraits Children

Left: Kurt Gottschalk; right: Hans Ludwig (Hal) Gottschalk

The six Gottschalk children Ursula, Elizabeth, Hal, Kurt, Freddy and Walter seated in a Strandkorb (roofed wicker beach chair); Nordeney, Germany. Portraits Children

Front row Walter (left) and Freddy; middle row Kurt (left) and Hal; back row Ursula (left) and Elizabeth

The six Gottschalk children Kurt, Walter, Elizabeth, Freddy, Ursula and Hal in the water on the beach; Nordeney, Germany.

From left to right: Kurt, Walter, Elizabeth, Freddy, Ursula and Hal Gottschalk

Three Gottschalk children digging in the sand; Nordeney, Germany. Portraits; Children

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Gottschalk children on vacation at a mountain lake; Titisee, Germany.

Front left to right: Ursula and Walter; back left to right: Kurt, Elizabeth, and Hal

Fritz Gottschalk and his children boating on a mountain lake; Titisee, Germany.

From left to right: Ursula, Walter, Hal, Kurt, Fritz, and Elizabeth Gottschalk; the lake is probably the Titisee near the Swiss border in the Black Forest, Germany

Gottschalk family on vacation; Norderney, Germany.

Left to right: two unidentified women, Kurt Gottschalk, Therese Gottschalk nee Molling, Fritz Gottschalk, unidentified woman (the maid?), and Elizabeth Gottschalk

Gottschalk family on vacation in front of Kurhaus Brunig; Norderney, Germany.

From left to right: man with camera: Karl Gottschalk; sitting on stairs: Fritz Gottschalk, unidentified woman, Therese Gottschalk nee Molling, Hans Ludwig, Kurt Gottschalk, unidentified woman (maid?) and Elizabeth Gottschalk

Eyeglasses of Moses Mendelssohn.

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Leo Baeck with group; Boston Portraits; Groups; Men

Page 58 of the "American Jewish Cavalcade" scrapbook of Leo Baeck in New York found in ROS 10 Folder 3