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Additional info for About Europe : philosophical hypotheses
The world of which there is an image or spectacle is outside of myself and faces me; and soon enough such is the idea of mundus. Of the cosmos we are a part, or a center: it includes and surrounds us. The cosmos can globally enclose an “us” that questions it, an assembly—and thus, a theater. One had to exit the cosmos for the world to be presented to me, frontally, as image and spectacle. This is what I call the invention of painting here. It is an idea foreign to theater, because the theater is not from that time.
H usserl goes on to suggest a determination for it, which we should reread. But it is precisely what the Greeks called philosophy that we must consider (as formation and history), and not Philosophy as an essence or something eternal, even if—and we shall soon tire of repeating this at every opportunity—what we are practicing under this name is a discourse that evidently has some kind of relationship with what happened in Greece. On the other hand, two other assertions should be challenged, namely, (5) that the Greeks, first of all, as agents and carriers of this event (or coming Europe Crossways 23 or birth) should be thought of as a nation: “.
Having taken on this shape, Europe reconsiders the worldly globalizing movement that carries it, and rethinks (reproduces) it from its 10 Europe Crossways originating point, now pointed, inscribed at the heart of its continentality— starting at the point of departure. 12 * How is one to understand this before/after relation, as I have just developed it? There are two overlapping but distinct ways of doing so, tracing the first on an ideal plane and the second on a concrete one. On the plane of idealities, my hypothesis amounts to considering that the movement of the universal (as becoming or process) logically comes prior to the position of the figure of Europe; it precedes and conditions it.