Mittwochskolloquium: Vortrag von Frau Sivlia Benso: Vattimo’s Hermeneutic Realism as an Act of Political Resistance

Vortrag von Frau Dr. Sivlia Benso
Vattimo’s Hermeneutic Realism as an Act of Political Resistance
am Mittwoch, 22. Jänner 2020
um 18:00 Uhr
im N.1.71


How can hermeneutics be a form of ethical-political resistance on behalf of reality? In this presentation, I examine Italian philosopher Gianni Vattimo’s critique of the “temptation of realism” and his claim that hermeneutics, and not the so-called new realisms, constitutes the most realistic approach to reality. Vattimo’s hermeneutic position (known as “weak thought”) represents the realistic realization that weak thought is the condition to which the very history of philosophy has committed (or destined) us. Additionally, Vattimo’s ontology of actuality emerges as the realistic response to such a historical condition insofar as it is the hermeneutic formulation of a non-metaphysical ontology focused on a weakened form of reality that finds its manifestation in historical traces rather than in absolutes. Ultimately, I explore Vattimo’s philosophical position understood as hermeneutic resistance against metaphysical realism on behalf of the reality of the weak. This resistance invests hermeneutics with an ethical-political commitment that renders it more revolutionary than the conservativism of all realisms.

Silvia Benso is Professor of Philosophy at Rochester Institute of Technology, USA where she is also Director of the Women’s and Gender Studies Program. Among her areas of interest are ancient philosophy, contemporary European philosophy, the history of philosophy, ethics, and aesthetics. She is the author of Thinking After Auschwitz: Philosophical Ethics and Jewish Theodicy (1992, in Italian), The Face of Things: A Different Side of Ethics (2000), Viva Voce: Conversations with Italian Philosophers (2017), and the co-author of the volume Environmental Thinking: Between Philosophy and Ecology (2000, in Italian). She has also co-edited various volumes such as Contemporary Italian Philosophy: Between Ethics, Politics and Religion (2007), Levinas and the Ancients (2008), Between Nihilism and Politics: The Hermeneutics of Gianni Vattimo (2010), and Thinking the Inexhaustible: Art, Interpretation, and Freedom in the Philosophy of Luigi Pareyson (2018). During the past decade, she has devoted herself to the promotion of Italian philosophy; she is the general co-editor for the SUNY Press series on Contemporary Italian Philosophy and the co-director of SIP, the Society for Italian Philosophy.

Vortrag von Frau Waltraud Ernst: Erkenntnis als Begegnungs- und Bewegungsraum

Vortrag von

 Waltraud Ernst

Erkenntnis als Begegnungs- und Bewegungsraum

15. Jänner 2020,N.1.71, 18h c.t.


Wenn wissenschaftliche Wissensproduktion Teil einer sich ständig verschiebenden performativen Konstituierung von Wirklichkeit ist, wie Karen Barad in ihrem Ansatz des „agential realism“ (2007) darlegt, bedürfen folgende Fragen der systematischen Klärung: Was ist das Verständnis von Wirklichkeit, wenn sie nicht nur durch wissenschaftliche Erkenntnis beschrieben, sondern auch im wissenschaftlichen Erkenntnisprozess hergestellt wird? Geht es um eine technisch hergestellte Wirklichkeit oder wird sie in sozialen Aushandlungsprozessen hergestellt? Wie kann untersucht werden, welche anderen sozialen Prozesse noch Teil an der Herstellung von Wirklichkeit haben? Welche(s) sind weitere Akteur*innen dieser Realitätsproduktion? Wie wird in diesem Ansatz menschliche Subjektivität und politische Veränderung gedacht?

Diese Fragen werden zunächst mit weiteren Ansätzen feministischer Epistemologie systematisch erörtert. Es werden verschiedene Perspektiven zu Methoden und Prozessen der Aushandlung von Erkenntnis abgewogen. Dabei wird vorgeschlagen, Erkenntnisprozesse als Bewegungsräume von Wirklichkeit sichtbar zu machen. Können neue epistemische, soziale und politische Begegnungsräume geschaffen werden?


Waltraud Ernst ist Philosophin. Seit 2010 ist sie Universitätsassistentin am Institut für Frauen- und Geschlechterforschung der Johannes Kepler Universität Linz. 1990 Magistra Artium an der Universität Bielefeld. 1996 Dr. phil. an der Universität Wien (Betreuung: Prof. Herta Nagl-Docekal). 2001-2003 Hertha-Firnbergstelle am Institut für Philosophie der Universität Wien. 2004-2010 war sie Leiterin des Zentrums für Interdisziplinäre Frauen- und Geschlechterstudien an der HAWK und der Universität Hildesheim. 2016 erhielt sie den Käthe-Leichter-Preis für Frauen und Geschlechterforschung. 2018 war sie Gastprofessorin an der TU Dresden. Aktuelle Publikationen: Feministische Erkenntnistheorie, in: Martin Grajner / Guido Melchior (Hg.): Handbuch Erkenntnistheorie, J. B. Metzler, Stuttgart, 412-417, 2019. Emancipatory interferences with machines?, in: International Journal of Gender, Science and Technology, Vol. 9, Nr. 2, The Open University, 178-196, 2017. In connection: Feminist epistemology for the twenty-first century, in: Transcultural Studies – A Journal in Interdisciplinary Research, Vol. 12, Nr. 2, BRILL, 267-287, 2016.

Info-Abend „Philosophie studieren?“

Das Institut für Philosophie und die ÖH-Studienrichtungsvertretung lädt zu folgender Veranstaltung ein:



„Philosophie studieren?“

am Freitag, 15. November 2019, um 18:00 Uhr, im ÖH Besprechungsraum O.0.11 (neben Como)




Tara Turnbull: „BEING ON STAGE“

Das Institut für Philosophie möchte Sie gerne zu folgender philosophischen Lecture Performance einladen

Tara Turnbull
„Being on Stage“
am Mittwoch, 24.10., um 18:30 Uhr, im Z.1.09

What does it mean to be a student? What does it mean to love wisdom, to Act Academia? Who is the Harold Lloydian Glasses Character? What is “the behaviour of a questioner?” Being-On-Stage is a philosopher play. It is the story of a perpetual student, one who studies ontology and temporality, one who reads Being And Time. Being-On-Stage contains the drama of study, particularly that of Martin Heidegger’s work. Where uncontainable, it bleeds the tragedy of Heidegger’s hypocrisy. The play asks, enacts how one might stare down the bore of a constant canon. Bureaucratic, it emphasizes le bureau, the desk. The play process posits stage as world, desk as stage, stage as desk, stage as studio, studio as sanctuary where and when an Actress re-reads, re-hearses, re-peats Being and Being’s questioning. As in Jerry N. Uelsmann’s 1976 silver gelatin print, the philosopher’s desk is space on, off of, and in which one can and does fall, stand, walk, act, look up, see sky in ceiling’s stead.
What does it mean to be an Actress? Being-On-Stage experiments with Acting as excavation, Actor as ground, Reading as excavatory action. In the archaeological act, dusting off is a dance. Through the text, you meet René Descartes, Gaius Julius Hyginus… You translate with John Macquarrie and Edward Robinson… You correspond with Wilhelm Dilthey and Count Yorck De Wartenburg… You poetize and are poetized. You sing. Ella Fitzgerald, Tracy Chapman, and Cécile McLorin Salvant sing through you. Ontology opens. Being embodies itself. You find yourself in a rhizomatic discourse of thought, of thinkers, of breath, of questions, of acts, in a story of Being, a continuum of everything that was, is, and will be. The play is a pedagogical tool for engaging with both theatre and philosophy. Theatre and philosophy inspire one another in the respiratory and other senses of inspiration, deepening inhalations, deeply affecting that study, that song which occurs on the out-breath.

About the person:
Tara Turnbull is an Actress. Bachelor Of Arts in Theatre & Philosophy Bard College At Simon’s Rock. Master Of Fine Arts The University Of California Los Angeles’ School Of Theatre, Film & Television. Doctor Of Philosophy student with The Transart Institute For Creative Research & Western Sydney University’s Writing And Society Research Centre. Being-On-Stage will have its New York première next m