This chapter endeavors to explain Heidegger’s intertwined thinking about death and “the nothing” and explore the ontological significance of this connection. As we have seen, “death” (Tod) is Heidegger’s name for a stark and desolate phenomenon in which Dasein (that is, our world-disclosive “being-here”) encounters its own end, the end “most proper” to the distinctive kind of entity that Dasein is. Being and Time’s phenomenology of death is primarily concerned to understand Dasein’s death ontologically. Heidegger is asking what the phenomenon of our own individual deaths reveals to us all about the nature of our common human being, that is, our Dasein (and what that discloses, in turn, about the nature of being in general). Understood ontologically, “death” designates Dasein’s encounter with the end of its own world-disclosure, the end of that particular way of becoming intelligible in time that uniquely “distinguishes” Dasein from all other kinds of entities (BT 32/SZ 12).

Despite R. G. Collingwood’s relation to British Idealism, a close reading of his subtle descriptions of imagination and expression reveals important points of contact with the phenomenological tradition. In the first section, I bring together Collingwood’s exploration of the role of imagination in art with Merleau-Ponty’s concepts of intentionality and expression. This provides insights into both thinkers’ attempts to describe lived experience and action, highlighting important aspects of their work overlooked by readers. In the second section, I explore how Collingwood and Merleau-Ponty both describe communication as an open and evolving movement of understanding that does not fall back upon a supposedly isolated consciousnesses, thereby eluding the threat of solipsism. In the third section, I outline the connection between Husserl’s identification of a “crisis” in the European sciences and Collingwood’s invocation against what he calls the “corruption of consciousness,” a particularly modern shirking of our responsibilities as expressive and active members of the community.

Proposition 67 of Spinoza’s hyper-rationalistic Ethics proudly proclaims that: “A free man thinks of nothing less than of death.” Well, in this book I have thought a great deal about existential death, and a good bit about the “noth-ing of the nothing” that such death discloses. Still, I have probably thought of noth-ing less than of death, so Spinoza might have to count me “free” on a technicality. There are, at any rate, worse things than being freed on a technicality. One can be convicted on a technicality, for example, or even convicted by technicality. Indeed, the later Heidegger suggests that we have all been convicted by technicality, technicity, or technologicity, that is, by “the essence of technology.” According to his view of our late modern age of technological enframing, we have all been thrown by Western history into the prison city-state (or polis) of nihilistic technologicity.

This introductory chapter seeks to answer the question of what Heidegger means by “death” (Tod) in Being and Time – and begin to justify that answer. I take up this weighty topic with some trepidation (if not quite fear and trembling) in part because to say that the meaning of “death” in Being and Time is controversial is to strain the limits of understatement. In addition to the emotionally freighted nature of the topic itself (to which we will return), I think four main factors contribute to and perpetuate this controversy: (1) Heidegger’s confusing terminology; (2) the centrality of the issue to the text as a whole; (3) the demanding nature of what is required to adjudicate the matter; and (4) the radically polarized scholarly literature on the subject. One of my main goals here is to suggest a way to move beyond the controversy that currently divides the field, so let me begin by saying a bit about its four main contributing factors.

The Christian can speak meaningfully of Christ as the ground and norm of this mythopoieic faculty and that mythopoiesis in contemporary secularity is finally judged by the mythos of Christ as both myth and myth-maker. Beginning with an observation of the mythopoieic elements in the fantasy fiction of Tolkien, Rowling, Pratchett, and Le Guin, I have attempted to contextualise their employment of and delight in a ‘mythic sensibility’ within a Christian theology of human participation in divine creativity. The implication of all such mythopoiesis into the mythopoiesis of Christ and in Christ is ultimately a seeking after God, a being-drawn into the Trinitarian return of God to God. Even when this desire has gone astray, it remains bound up in the Trinitarian procession, by virtue of God’s grace in creation, and in the redemption of the world through Jesus Christ. Our mythopoieic faculty remains redeemable because it, like all human endeavour, remains hallowed by the Incarnation and taken up by the risen Christ.

Certain stories act upon us. They shape the way that we see, encounter, and understand the world. A phenomenological approach to a narrative encounter with the world in terms of the mythic helps to illuminate a certain sensibility that mediates the world to human persons such that it is experienced as meaningful. Understanding the mythic in terms of a sensibility rather than in terms of a genre of literature or a form of cultural expression sheds light on how mythopoiesis is not a phenomenon restricted to archaic societies and the tales of either a bygone age or a culture or religion not our own. Among the most visible places of such mythopoiesis is so-called ‘mythopoieic literature’, fantasies that actively play with the sense of the possible, with narratives shaping the lives of characters, and what can be brought to the surface when meaning and being more closely and obviously co-inhere. A phenomenology of play, both in terms of the ludic fancy of the mythic and fantastic and the perception-shaping power of a game’s rules over the players, opens up the way that stories act upon our perception of the world and the meaning that we encounter.

This chapter explores the perceptual acts modelled by John Clare’s poetry, especially in encounters with the more-than-human world. Rather than foregrounding the ways a perceiving ego shapes a landscape, Clare details situations and perspectives readers can imaginatively enter and emphasizes the ways that the situations themselves invite receptivity. He normalizes ecologically attuned modes of perception by presenting them as enabled by the places, plants, and animals his speakers encounter more than the speakers themselves. Focusing on poems that place speakers among or beneath birds and weeds, including ‘To an Insignificant Flower’, ‘The Fens’, and some shorter bird poems, Falke describes the poetic means through which Clare encourages epistemological humility and other-directedness. She then articulates a mode of reading Clare’s poetry based on these same perceptual habits.

The interview questions were designed to enable the psychiatrists to reflect on their lived experiences, that is their personal knowledge about the world gained through direct, first-hand experience. This standard definition emphasises the subjective knowledge that individuals form through direct encounters, interactions and observations. The authors were particularly interested in learning about how the negotiation between South Asian and British cultures played out in the course of their working lives at the level of the lived experience rather than abstractly. Frantz Fanon’s existential-phenomenology is used as an example of an approach known as ‘critical phenomenology’ understood as a form of politically engaged practice capable of reflecting the concrete conditions of existence. Fanon’s significance within this context is heightened, given his credentials as a psychiatrist and his method of the lived experience as the route to learning about difference. Living through the era of French colonialism, he examined the devastating impact of colonialism and its concomitant effects on the self, on himself, as the colonised but also as the psychiatrist, and had a greater understanding of and empathy with his patients because of their shared experiences. Through powerful phenomenological description, he described his own feelings of being othered and displaced, and how this precarious sense of selfhood had lasting effects on his sense of identity.

In his oft-cited and still fundamental Criticism in Antiquity (1981), Donald Russell wrote that ancient literary history was ‘very rudimentary by modern standards’. Going far beyond Russell’s brief chapter on the subject, this volume seeks to understand ancient literary history on its own terms. The introduction places the present volume in context by considering how the recent history of modern literary history, both inside and outside the discipline of classics, puts us in a better position to re-evaluate its ancient congener. Embracing a more expansive and less essentialist approach to the objectives and methodology of the modern study of ancient literary history can enable us to approach the ancient study of literary history in a fresh light. In other words, abandoning misconceptions about both ancient and modern literary history is a necessary condition for a full ‘rehabilitation’, as it were, of an often neglected subject within Classical Studies: the Greeks and Romans’ perception, study, and representation of their own literary pasts. The introduction closes by drawing out some of the overarching themes of the volume and provides a short introduction to each chapter.

In his book General Psychopathology, first published in 1913, Jaspers presented a methodological framework for exploring the phenomenology of symptoms of psychiatric disorders as well as relating experimental psychology and nosology to phenomenology. This chapter briefly introduces the phenomenological approach to symptoms and how this has influenced symptom- as opposed to diagnostic criterion-based assessment instruments, such as those based on the diagnostic statistical manual. A transcultural and historical perspective is employed to identify relevant symptoms of mood disorders and their temporal course. Descriptions and definitions of classical symptoms are provided and extended based on modern evidence to include changes in self-imagery, moral emotions, self-blame-related action tendencies, as well as mood-congruent biases in the representation of the past and future. Lastly the contribution of psychopathology to future subsyndrome discovery, translational cognitive neuroscience, and network-based approaches to the psychopathology of mood disorders is discussed.