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A few subtopics to dicusss.
Hermeneutics, the science of textual interpretation, also plays a role in postmodern philosophy. Unlike deconstruction, which focuses upon the functional structures of a text, hermeneutics seeks to arrive at an agreement or consensus as to what the text means, or is about. Gianni Vattimo formulates a postmodern hermeneutics in The End of Modernity (English 1988), where he distinguishes himself from his Parisian counterparts by posing the question of post-modernity as a matter for ontological hermeneutics. Instead of calling for experimentation with counter-strategies and functional structures, he sees the heterogeneity and diversity in our experience of the world as a hermeneutical problem to be solved by developing a sense continuity between the present and the past. This continuity is to be a unity of meaning rather than the repetition of a functional structure, and the meaning is ontological. In this respect, Vattimo’s project is an extension of Heidegger’s inquiries into the meaning of being. However, where Heidegger situates Nietzsche within the limits of metaphysics, Vattimo joins Heidegger’s ontological hermeneutics with Nietzsche’s attempt to think beyond nihilism and historicism with his concept of eternal return. The result, says Vattimo, is a certain distortion of Heidegger’s reading of Nietzsche, allowing Heidegger and Nietzsche to be interpreted through one another (Vattimo 1988, 176). This is a significant point of difference between Vattimo and the French postmodernists, who read Nietzsche against Heidegger, and prefer Nietzsche’s textual strategies over Heidegger’s pursuit of the meaning of being. Hyperreality is closely related to the concept of the simulacrum: a copy or image without reference to an original. In postmodernism, hyperreality is the result of the technological mediation of experience, where what passes for reality is a network of images and signs without an external referent, such that what is represented is representation itself. In Symbolic Exchange and Death (1976) (English 1993), Jean Baudrillard uses Lacan’s concepts of the symbolic, the imaginary, and the real to develop this concept while attacking orthodoxies of the political Left, beginning with the assumed reality of power, production, desire, society, and political legitimacy. Baudrillard argues that all of these realities have become simulations, that is, signs without any referent, because the real and the imaginary have been absorbed into the symbolic.The term “deconstruction,” like “postmodernism,” has taken on many meanings in the popular imagination. However, in philosophy, it signifies certain strategies for reading and writing texts. The term was introduced into philosophical literature in 1967, with the publication of three texts by Jacques Derrida: Of Grammatology (English 1974), Writing and Difference (English 1978), and Speech and Phenomena (English 1973). This so-called “publication blitz” immediately established Derrida as a major figure in the new movement in philosophy and the human sciences centered in Paris, and brought the idiom “deconstruction” into its vocabulary. Derrida and deconstruction are routinely associated with postmodernism, although like Deleuze and Foucault, he does not use the term and would resist affiliation with “-isms” of any sort. Of the three books from 1967, Of Grammatology is the more comprehensive in laying out the background for deconstruction as a way of reading modern theories of language, especially structuralism, and Heidegger’s meditations on the non-presence of being. It also sets out Derrida’s difference with Heidegger over Nietzsche. Where Heidegger places Nietzsche within the metaphysics of presence, Derrida insists that “reading, and therefore writing, the text were for Nietzsche ‘originary’ operations,” (Derrida 1974, 19), and this puts him at the closure of metaphysics (not the end), a closure that liberates writing from the traditional logos, which takes writing to be a sign (a visible mark) for another sign (speech), whose “signified” is a fully present meaning. The concept of difference as a productive mechanism, rather than a negation of identity, is also a hallmark of postmodernism in philosophy. Gilles Deleuze deploys this concept throughout his work, beginning with Nietzsche and Philosophy (1962, English 1983), where he sets Nietzsche against the models of thinking at work in Kant and Hegel. Here, he proposes to think against reason in resistance to Kant’s assertion of the self-justifying authority of reason alone (Deleuze 1983b, 93). In a phrase echoed by Foucault, he states that the purpose of his critique of reason “is not justification but a different way of feeling: another sensibility” (Deleuze 1983b, 94). Philosophical critique, he declares, is an encounter between thought and what forces it into action: it is a matter of sensibility rather than a tribunal where reason judges itself by its own laws (see Kant 1964, 9). Furthermore, the critique of reason is not a method, but is achieved by “culture” in the Nietzschean sense: training, discipline, inventiveness, and a certain cruelty (see Nietzsche 1967b). Since thought cannot activate itself as thinking, Deleuze says it must suffer violence if it is to awaken and move. Art, science, and philosophy deploy such violence insofar as they are transformative and experimental. The Nietzschean method of genealogy, in its application to modern subjectivity, is another facet of philosophical postmodernism. Michel Foucault’s application of genealogy to formative moments in modernity’s history and his exhortations to experiment with subjectivity place him within the scope of postmodern discourse. In the 1971 essay “Nietzsche, Genealogy, History,” Foucault spells out his adaptation of the genealogical method in his historical studies. First and foremost, he says, genealogy “opposes itself to the search for ‘origins’” (Foucault 1977, 141). That is, genealogy studies the accidents and contingencies that converge at crucial moments, giving rise to new epochs, concepts, and institutions. As Foucault remarks: “What is found at the historical beginning of things is not the inviolable identity of their origin; it is the dissension of other things. It is disparity” (Foucault 1977, 142). In Nietzschean fashion, Foucault exposes history conceived as the origin and development of an identical subject, e.g., “modernity,” as a fiction modern discourses invent after the fact. Underlying the fiction of modernity is a sense of temporality that excludes the elements of chance and contingency in play at every moment. In short, linear, progressive history covers up the discontinuities and interruptions that mark points of succession in historical time.
Bonus Question: What does the work Subterranean make you think of?
