Logic of Imagination


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<P>The Shakespearean image of a tempest and its aftermath forms the beginning as well as a major guiding thread of Logic of Imagination. Moving beyond the horizons of his earlier work, Force of Imagination, John Sallis sets out to unsettle the traditional conception of logic, to mark its limits, and, beyond these limits, to launch another, exorbitant logic—a logic of imagination. Drawing on a vast range of sources, including Plato, Aristotle, Kant, Hegel, Nietzsche, and Freud, as well as developments in modern logic and modern mathematics, Sallis shows how a logic of imagination can disclose the most elemental dimensions of nature and of human existence and how, through dialogue with contemporary astrophysics, it can reopen the project of a philosophical cosmology.</P>
<P>Precursions<BR>1. The Logic of Contradiction<BR>2. Formal Logic and Beyond<BR>3. Exorbitant Logics<BR>4. The Look of Things<BR>5. Schematism<BR>6. Proper Elementals<BR>7. Elemental Cosmology<BR>Notes<BR>Index</P>



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Published 20 July 2012
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EAN13 9780253013644
Language English
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CONSULTING EDITORS  Robert Bernasconi  Rudolph Bernet  John D. Caputo  David Carr  Edward S. Casey  Hubert Dreyfus  Don Ihde  David Farrell Krell  Lenore Langsdorf  Alphonso Lingis  William L. McBride
J. N. Mohanty Mary Rawlinson Tom Rockmore Calvin O. Schrag Reiner Schürmann Charles E. Scott Thomas Sheehan Robert Sokolowski Bruce W. Wilshire David Wood
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© 2012 by John Sallis
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Library of Congress Cataloging-in-Publication Data
Sallis, John Logic of imagination : the expanse of the elemental / John Sallis. p. cm. Includes bibliographical references and index. ISBN 978-0-253-00589-2 (alk. paper) ISBN 978-0-253-00590-8 (ebook) 1. Imagination (Philosophy) I. Title. BH301.I53S26 2012 128’.3—dc23 2012005746
1 2 3 4 5 17 16 15 14 13 12
List of Plates Acknowledgments
PRECURSIONS I. The Tempest II. Tracings III. Legacies IV. Spiralings
1. THE LOGIC OF CONTRADICTION A. Ones B. A Principle Most Firm, Steadfast, Sure C. Another Logic D. Logic as Metaphysics of Contradiction E. Contradiction at the Limit
2. FORMAL LOGIC AND BEYOND A. Divergences B. Pure Logic C. Transcendental Logic D. Dismantlings
3. EXORBITANT LOGICS A. Infraction B. The Field of Things C. Kettle Logic
4. THE LOOK OF THINGS A. Showings B. Doubling Looks C. The Look of Sense
5. SCHEMATISM A. The Elementals and Their Texture B. Preeminent Spacings C. Schemata of Imagination D. Before the Elemental
6. PROPER ELEMENTALS A. The Space of Propriety B. Seclusion C. Natal Mortality
7. ELEMENTAL COSMOLOGY A. The Expanse Beyond B. Unabsolved Space C. Stretch of Imagination
1. Frans Hals,Portrait of Jaspar Schade(c. 1645)
2. Raphael,Madonna del Granduca(1504)
3. Raphael,Madonna della Seggiola(1514)
4. Paul Klee,Kettledrummer(1940)
5. Vincent van Gogh,Along the Seine(1887)
6. Vincent van Gogh,The Wheatfield(1888)
7. Vincent van Gogh,Seascape near Les Saintes-Maries-de-la-Mer(1888)
8. Caspar David Friedrich,The Wanderer above the Sea of Fog(c. 1818)
I am grateful to the State University of New York Press for permission to include the text of my paper “The Logic and Illogic of the Dream-Work,” which originally appeared inRereading Freud: Psychoanalysis through Philosophy, edited by Jon Mills (2004). Thanks also to the following museums and agents for permission to include images of artworks: National Gallery in Prague (Plate 1), Palazzo Pitti (Plates 2 and 3), Zentrum Paul Klee (Plate 4), Van Gogh Museum (Plates 5 and 7), Kunsthandel P. de Boer (Plate 6), Art Resource (Hamburger Kunsthalle) (Plate 8). I also want to thank Michael Benson for generously granting permission for his image of the Andromeda Galaxy to be used on the cover of this book; the image appeared in his bookFar Out: A Space-Time Chronicle (New York: Abrams, 2009) and is based on a photograph made at the Palomar Observatory by Davide De Martin, to whom I also owe thanks. I would like to express once again my gratitude to the Alexander von Humboldt Stiftung for continued support of my research. For their generous and able assistance during production of this book I am grateful to Nancy Fedrow and Marina Denischik. Most of all, I am profoundly grateful to my editor and friend Dee Mortensen, whose continual support and extraordinary expertise have been invaluable.
Boston January 2012