The intention behind writing the present essay on the Difference Between Fichte’s and Schelling’s Systems of Philosophy was to find the guiding idea that, acting as a thread of Ariadne, could...Show moreThe intention behind writing the present essay on the Difference Between Fichte’s and Schelling’s Systems of Philosophy was to find the guiding idea that, acting as a thread of Ariadne, could connect Hegel’s early philosophical project with what across the following argument will be referred to as the paradox of temporality. Deliberately, the above title refers to ‘temporality’, and not to ‘Time’. Temporality is not a term employed by Hegel in his writings. In a strict sense, what Hegel explicitly refers to as Time is limited to natural Time, and any other sense that might be associated with a temporality beyond natural Time is understood by Hegel as History —not as temporality. In Hegel’s works, Time and History pertain to the different realms of Nature and Spirit. Nevertheless, at the same time, for Hegel Nature and Spirit constitute instances in the unfolding of the Absolute Idea. Far from being a merely pure or abstract form, the Absolute Idea exists and becomes concrete as both realms. Consequently, beyond the letter of Hegelian philosophy, there is a common element to ‘Time’ and ‘History’, in that they both are the existing logical figure of finitude, or of ‘that which has its negation out of itself’ . The central claim of the present essay is that, in Hegel’s philosophy, there is this larger and contradictory logic connecting ‘Time’ and ‘History’ (a paradox of temporality), and that the paradoxical nature of this logic can be explained by an early concept found in the Difference: the notion of absolute identity. Therefore, the following argument will consider two main questions. Firstly: what are the main aspects of the contradiction of temporality in Nature and in Spirit? Secondly: how does Hegel’s early notion of absolute identity account for this paradox of temporality?Show less
Embalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered...Show moreEmbalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered around more ‘classical’ thought about the temporality of film; ranging from Andre Bazin to Roland Barthes’ view on cinema and its impossibility to have a punctum - and how these are brought together and critically reworked by Laura Mulvey. The second chapter revolves around Gilles Deleuze’s Cinema books and the Bergsonian heritage of his conception of film as a medium. The third and last chapter (featuring at once one of the most recent film-philosophers and arguably the oldest) discusses Jacques Rancière’s writings on cinema, focusing on film’s opsis -its pure visuality -over the narrative qualities of the medium, and dives deeper into the influence of Jean Epstein’s thinking about film, focused through his discussions of photogénie and slow motion. Together, these three chapters form a tentative inquiry towards the possibility of a new cinematic form, of which the temporality of the filmic medium is integrally and inextricably part.Show less
This thesis aims to analyse the divergent forms of temporalities and spatilaities within the discourse of soft war. Temporality and spatiality are explored against the greater construct of historic...Show moreThis thesis aims to analyse the divergent forms of temporalities and spatilaities within the discourse of soft war. Temporality and spatiality are explored against the greater construct of historic and cultural identities. By doing so, this paper opens the space for questioning the relation between identity, discourse and time-space as structural elements of narrative. By using a deconstructionist framework, soft war discourse is analysed from a new post-positivist perspective that seeks to understand the instability and constructive nature of the soft war narrative. This paper concludes by suggesting that the different articulations of spatiality and temporality reveal soft war narrative as non-homogenous and disjunctive.Show less
