Daniel Heller-Roazen

Muhsin Mahdi

This Norton Critical Edition includes twenty-eight tales from The Arabian Nights translated by Husain Haddawy on the basis of the oldest existing Arabic manuscript.

The Arabian Nights

Just as speech can be acquired, so can it be lost. Speakers can forget words,phrases, even entire languages they once knew; over the course of time peoples, too, let go of thetongues that were once theirs, as languages disappear and give way to the others that follow them.In Echolalias, Daniel Heller-Roazen reflects on the many forms of linguistic forgetfulness, offeringa far-reaching philosophical investigation into the persistence and disappearance of speech. Intwenty-one brief chapters, he moves among classical, medieval, and modern culture, exploring theinterrelations of speech, writing, memory, and oblivion.Drawing his examples from literature,philosophy, linguistics, theology, and psychoanalysis, Heller-Roazen examines the points at whichthe transience of speech has become a question in the arts, disciplines, and sciences in whichlanguage plays a prominent role. Whether the subject is Ovid, Dante, or modern fiction, classicalArabic literature or the birth of the French language, structuralist linguistics or Freud's writingson aphasia, Heller-Roazen considers with clarity, precision, and insight the forms, the effects, andthe ultimate consequences of the forgetting of language. In speech, he argues, destruction andconstruction often prove inseparable. Among peoples, the disappearance of one language can mark theemergence of another; among individuals, the experience of the passing of speech can lie at theorigin of literary, philosophical, and artistic creation.From the infant's prattle to the legacy ofBabel, from the holy tongues of Judaism and Islam to the concept of the dead language and thepolitical significance of exiled and endangered languages today, Echolalias traces an elegant,erudite, and original philosophical itinerary, inviting us to reflect in a new way on the nature ofthe speaking animal who forgets.

On the Forgetting of Language

Echolalias

Archaeology of a Sensation

The Inner Touch

An ancient tradition holds that Pythagoras discovered the secrets of harmony within a forge when he came across five men hammering with five hammers, producing a wondrous sound. Four of the five hammers stood in a marvelous set of proportions, harmonizing; but there was also a fifth hammer. Pythagoras saw and heard it, but he could not measure it; nor could he understand its discordant sound. Pythagoras therefore discarded it. What was this hammer, such that Pythagoras chose so decidedly to reject it?Since antiquity, "harmony" has been a name for more than a theory of musical sounds; it has offered a paradigm for the scientific understanding of the natural world. Nature, through harmony, has been transcribed in the ideal signs of mathematics. But, time and again, the transcription has run up against one fundamental limit: something in nature resists being written down, transcribed in a stable set of ideal elements. A fifth hammer, obstinately, continues to sound. In eight chapters, linked together as are the tones of a single scale, The Fifth Hammer explores the sounds and echoes of that troubling percussion as they make themselves felt on the most varied of attempts to understand and represent the natural world. From music to metaphysics, aesthetics to astronomy, and from Plato and Boethius to Kepler, Leibniz, and Kant, this book explores the ways in which the ordering of the sensible world has continued to suggest a reality that no notes or letters can fully transcribe.

Pythagoras and the Disharmony of the World

The Fifth Hammer

Giorgio Agamben

This volume constitutes the largest collection of writings by the Italian philosopher Giorgio Agamben hitherto published in any language. The essays consider several figures in the history of philosophy; the relation of linguistic and metaphysical categories; messianism in Islamic, Jewish, and Christian theology; and the state and future of contemporary politics.

Collected Essays in Philosophy

Potentialities

Es war vermutlich Aristoteles, der als Erster einen dem Menschen eigentümlichen Sinn entdeckte: den Sinn wahrzunehmen, dass man wahrnimmt. Daniel Heller-Roazen unternimmt in seinem Buch nun dessen Archäologie: In 25 Kapiteln zeichnet er die verschlungenen Wege dieses besonderen Sinns bei Denkern vom antiken Griechenland bis zum 20. Jahrhundert und in Disziplinen von der Philosophie über Psychologie und Literatur bis zu medizinischen Abhandlungen nach. »Der innere Sinn« ist eine originelle, elegante und weitreichende philosophische Untersuchung der Frage, was es bedeutet, dass man sich lebendig fühlt. »Daniel Heller-Roazens Archäologie eines Gefühls wirft ein völlig neues Licht auf eine Reihe von wesentlichen Momenten in der Geschichte der Philosophie und der Humanwissenschaften. Doch noch wesentlicher für diese außergewöhnliche Arbeit ist, dass sie ein faszinierendes Forschungsfeld entdeckt, das von allergrößte Bedeutung für das zeitgenössische Denken ist: des Gefühls, durch das wir – vor oder jenseits des Bewusstseins – fühlen, dass wir existieren.« Giorgio Agamben

Archäologie eines Gefühls

Der innere Sinn

Ce livre explore un phénomène curieux qui n'a pas reçu l'attention qu'il mérite. Chaque fois que des humains parlent une langue, ils s'efforcent aussi de créer, avec la grammaire qu'ils connaissent, des langues secrètes. Celles-ci peuvent être plaisantes ou sérieuses, jeux d'enfants ou travail d'adultes, aussi impénétrables que des langues étrangères. C'est à la Renaissance que des auteurs soulignent pour la première fois l'apparition de ces langues volontairement obscures. Des juristes, des grammairiens, des théologiens les ont condamnées, soutenant que ces nouvelles formes de discours étaient les instruments du crime. Mais avant l'émergence de ces jargons modernes, la torsion artificielle des langues avait une finalité bien différente : en Grèce ancienne, dans la Rome archaïque, en Provence ou dans la Scandinavie au Moyen Âge, chanteurs et copistes inventaient des variantes opaques du parler. Ils ne le faisaient pas pour tromper mais pour révéler la langue des dieux, que les poètes et les prêtres étaient, disait-on, les seuls à maîtriser. Langues obscures évolue entre ces diverses langues artificielles et hermétiques. Des jargons criminels aux idiomes sacrés, du travail de Saussure sur les anagrammes à la théorie de Jakobson sur les structures subliminales en poésie, des arts mystérieux des druides et des copistes de la Bible à la procédure secrète que Tristan Tzara, fondateur de Dada, croyait avoir découverte dans les chansons et ballades de Villon. Dans ce livre singulier, Daniel Heller-Roazen montre comment des techniques, communes aux voleurs et aux poètes, jouent le son et le sens l'un contre l'autre.

Langues obscures. L'art des voleurs et des poètes

From Homer's Outis—“No One,” or “Non-One,” “No Man,” or “Non-Man”—to “soul,” “spirit,” and the unnamable. Homer recounts how, trapped inside a monster's cave, with nothing but his wits to call upon, Ulysses once saved himself by twisting his name. He called himself Outis: “No One,” or “Non-One,” “No Man,” or “Non-Man.” The ploy was a success. He blinded his barbaric host and eluded him, becoming anonymous, for a while, even as he bore a name. Philosophers never forgot the lesson that the ancient hero taught. From Aristotle and his commentators in Greek, Arabic, Latin, and more modern languages, from the masters of the medieval schools to Kant and his many successors, thinkers have exploited the possibilities of adding “non-” to the names of man. Aristotle is the first to write of “indefinite” or “infinite” names, his example being “non-man.” Kant turns to such terms in his theory of the infinite judgment, illustrated by the sentence, “The soul is non-mortal.” Such statements play major roles in the philosophies of Maimon, Fichte, Schelling, Hegel, and Hermann Cohen. They are profoundly reinterpreted in the twentieth century by thinkers as diverse as Carnap and Heidegger. Reconstructing the adventures of a particle in philosophy, Daniel Heller-Roazen seeks to show how a grammatical possibility can be an incitement for thought. Yet he also draws a lesson from persistent examples. The philosophers' infinite names all point to one subject: us. “Non-man” or “soul,” “Spirit” or “the unconditioned,” we are beings who name and name ourselves, bearing witness to the fact that we are, in every sense, unnamable.

An Essay on Infinite Naming

No One's Ways

Dark Tongues constitutes a sustained exploration of a perplexing fact that has never received the attention it deserves. Wherever human beings share a language, they also strive to make from it something new: a cryptic idiom, built from the grammar that they know, which will allow them to communicate in secrecy. Such hidden languages come in many shapes. They may be playful or serious, children's games or adults' work. They may be as impenetrable as foreign tongues, or slightly different from the idioms from which they spring, or barely perceptible, their existence being the subject of uncertain, even unlikely, suppositions. The first recorded jargons date to the time of the Renaissance, when writers across Europe noted that obscure languages had suddenly come into use. A varied cast of characters -- lawyers, grammarians, and theologians -- denounced these new forms of speech, arguing that they were tools of crime, plotted in tongues that honest people could not understand. Before the emergence of these modern jargons, however, the artificial twisting of languages served a different purpose. In epochs and regions as diverse as archaic Greece and Rome and medieval Provence and Scandinavia, singers and scribes also invented opaque varieties of speech. They did so not to defraud, but to reveal and record a divine thing: the language of the gods, which poets and priests alone were said to master. Dark Tongues moves among these various artificial and hermetic tongues. From criminal jargons to sacred idioms, from Saussure's work on anagrams to Jakobson's theory of subliminal patterns in poetry, from the arcane arts of the Druids and Biblical copyists to the secret procedure that Tristan Tzara, founder of Dada, believed he had uncovered in Villon's songs and ballads, Dark Tongues explores the common crafts of rogues and riddlers, which play sound and sense against each other.

The Art of Rogues and Riddlers

Dark Tongues

Considered in its full poetic and philosophical dimensions, the Romance of the Rose thus acquires an altogether new significance in the history of literature: it appears as a work that incessantly explores its own capacity to be other than it is.

The Roman de la Rose and the Poetics of Contingency

Fortune's Faces

An original, elegant, and far-reaching philosophical inquiry into what it means tofeel alive.

An intellectually adventurous account of the role of nonpersons that explores their depiction in literature and challenges how they are defined in philosophy, law, and anthropology In thirteen interlocking chapters, Absentees explores the role of the missing in human communities, asking an urgent question: How does a person become a nonperson, whether by disappearance, disenfranchisement, or civil, social, or biological death? Only somebody can become a “nobody,” but, as Daniel Heller-Roazen shows, the ways of being a nonperson are as diverse and complex as they are mysterious and unpredictable. Heller-Roazen treats the variously missing persons of the subtitle in three parts: Vanishings, Lessenings, and Survivals. In each section and with multiple transhistorical and transcultural examples, he challenges the categories that define nonpersons in philosophy, ethics, law, and anthropology. Exclusion, infamy, and stigma; mortuary beliefs and customs; children’s games and state censuses; ghosts and “dead souls” illustrate the lives of those lacking or denied full personhood. In the archives of fiction, Heller-Roazen uncovers figurations of the missing—from Helen of Argos in Troy or Egypt to Hawthorne’s Wakefield, Swift’s Captain Gulliver, Kafka’s undead hunter Gracchus, and Chamisso’s long-lived shadowless Peter Schlemihl. Readers of The Enemy of All and No One’s Ways will find a continuation of those books’ intense intellectual adventures, with unexpected questions and arguments arising every step of the way. In a unique voice, Heller-Roazen’s thought and writing capture the intricacies of the all-too-human absent and absented.

On Variously Missing Persons

Absentees

This book, by one of Italy's most important and original contemporary philosophers, represents a broad, general, and ambitious undertaking--nothing less than an attempt to rethink the nature of poetic language and to rearticulate relationships among theology, poetry, and philosophy in a tradition of literature initiated by Dante. The author presents "literature" as a set of formal or linguistic genres that discuss or develop theological issues at a certain distance from the discourse of theology. This distance begins to appear in Virgil and Ovid, but it becomes decisive in Dante and in his decision to write in the vernacular. His vernacular Italian reaches back through classical allusion to the Latin that was in his day the language of theology, but it does so with a difference. It is no accident that in the Commedia Virgil is Dante's guide. The book opens with a discussion of just how Dante's poem is a "comedy," and it concludes with a discussion of the "ends of poetry" in a variety of senses: enjambment at the ends of lines, the concluding lines of poems, and the end of poetry as a mode of writing this sort of literature. Of course, to have poetry "end" does not mean that people stop writing it, but that literature passes into a period in which it is concerned with its own ending, with its own bounds and limits, historical and otherwise. Though most of the essays make specific reference to various authors of the Italian literary tradition (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they transcend the confines of Italian literature and engage several other literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, among others).

Studies in Poetics

The End of the Poem

The pirate is the original enemy of humankind. As Cicero famously remarked, there arecertain enemies with whom one may negotiate and with whom, circumstances permitting, one mayestablish a truce. But there is also an enemy with whom treaties are in vain and war remainsincessant. This is the pirate, considered by ancient jurists considered to be "the enemy ofall."In this book, Daniel Heller-Roazen reconstructs the shifting place of the pirate in legaland political thought from the ancient to the medieval, modern, and contemporary periods presentingthe philosophical genealogy of a remarkable antagonist. Today, Heller-Roazen argues, the piratefurnishes the key to the contemporary paradigm of the universal foe. This is a legal and politicalperson of exception, neither criminal nor enemy, who inhabits an extra-territorial region. Againstsuch a foe, states may wage extraordinary battles, policing politics and justifying militarymeasures in the name of welfare and security. Heller-Roazen defines the piracy in the conjunction offour conditions: a region beyond territorial jurisdiction; agents who may not be identified with anestablished state; the collapse of the distinction between criminal and political categories; andthe transformation of the concept of war. The paradigm of piracy remains in force today. Whenever wehear of regions outside the rule of law in which acts of "indiscriminate aggression" havebeen committed "against humanity," we must begin to recognize that these are acts ofpiracy. Often considered part of the distant past, the enemy of all is closer to us today than wemay think. Indeed, he may never have been closer.

Piracy and the Law of Nations

The Enemy of All

A far-reaching philosophical investigation into the persistence and disappearance of speech, in individuals and in linguistic communities.

Daniel Heller-Roazen

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