Böcker av Daniel (Princeton University) Heller-Roazen

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.

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.

The philosophical genealogy of a remarkable antagonist: the pirate, the key to the contemporary paradigm of the universal foe.

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

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