By Denis Guénoun
The thought of the common used to be born within the lands we now name Europe, but it really is exactly the common that's Europe's undoing. All ecu politics is stuck in a stress: to say a eu id is to be open to multiplicity, yet this very openness may perhaps dissolve Europe as such. This e-book displays on Europe and its altering barriers over the span of twenty centuries. a piece of philosophy, it always attracts on concrete occasions. From historic Greece and Rome, to Christianity, to the Reformation, to the nationwide revolutions of the 20th century, what we this present day name 'Europe' has been a succession of initiatives within the identify of ecclesia or neighborhood. Empire, Church, and ecu: all were built unlike an Oriental 'other.' The stakes of Europe, then, are as a lot metaphysical as political. Redefining a sequence of key innovations reminiscent of global, position, transportation, and the typical, this publication sheds mild on Europe as approach via enticing with the main major philosophical debates at the topic, together with the paintings of Marx, Husserl, Heidegger, Patocka, and Nancy.
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Extra resources for About Europe: Philosophical Hypotheses (Cultural Memory in the Present)
Greek originality is not contained in one pure event, but in a transmission: “suppose we start from the history of Greece, as that by which all the older or contemporaneous History has been preserved, or at least accredited to us” (emphasis added). There is some history before that, or elsewhere. But it is thanks to Greece that we know it; it is Greece that tells it. Greece transmits, preserves (aufbehalten), and attests (beglaubigt). The origin is transfer, and such is the very originality of the origin, that which makes it a beginning: elsewhere things take place but are not transmitted; here, one preserves, gives, and transmits—all of history (the whole story) begins.
189). This tale is going to draw her out of her sleep and out of her virginity. She is dreaming: this story or history (of Europe) comes out of an Asian dream. The dream is filled with “strife” between two land areas, “both in the shape of women” (p. 189) but whose names in the text are remarkable: “Asia, and the farther shore [antiperēn]” (p. 189; emphasis added). Here again we have the two areas facing one another [qui s’af-frontent]. But the land facing Asia has no name—not yet. Moschus is specific: of these two women, “one had the guise of a stranger, the other of a lady of that land, and closer still she clung about her maiden, and kept saying how ‘she was her mother, and herself had nursed Europa’” (p.
To clarify this hypothesis, let us show one of its consequences. Each of these eras has produced its own “art,” though, to be rigorous, we should amend this statement from the start: while both have indeed produced the kinds of effects that we call “arts,” only the second and modern era has produced them as arts. The age of the assembly produced the theater, or more exactly tragedy and comedy—which we, and not ancient Greeks, call theater. Theater to them (at least during the classical era, the time of theater and assem- Europe Crossways 31 bling) is the name of a part of the space of their dramatic festivities: the part of the “public,” the bleachers where the viewers gather, the gathering setup, and the viewing place.
About Europe: Philosophical Hypotheses (Cultural Memory in the Present) by Denis Guénoun