O'Hagan wrote that "the man who put himself in charge of disclosing the world's secrets simply couldn't bear his own.
The book deal ultimately collapsed, O'Hagan writes, because "the man who put himself in charge of disclosing the world's secrets simply couldn't bear his own.
In this book, Andrew Inkpin considers the disclosive function of language what language does in revealing or disclosing the world.
Drawing on Heidegger, he could have urged middle-aged people to find new ways of "disclosing" the world to themselves, perhaps by acquiring new or deeper skills.
But it is with Andrew Inkpin's Disclosing the World, via the use of what he calls a 'minimalist phenomenology,' that we get one of the deepest accounts of what such a resolution of the Homeric struggle might look like, one that also challenges the hegemony of the post-Fregean tradition in philosophy of language.
There are other revealing ways of experiencing and disclosing the world, such as various societal practices or art.
Thus the first aspect of aesthetic pleasure is this double "joy" (Sartre 1948a, 41) of "disclosing" the world and fully appropriating the unique power to do so, becoming aware and exercising our radical freedom.
Again, a male narrator, Jerry Battle, gradually discloses a world of turmoil and abandonment — a wife who drowned in a swimming pool, a pregnant daughter who has cancer, a son who is bankrupting the family business.
Unfortunately, nowhere in his corpus does Heidegger ponder age as the boundary of finitude that allows time, in its ostensive character, to disclose the world of phenomena.
For the existentialists, as we saw, the work of art brings to a higher level of reflexivity and consistency the innate capacity of human beings to disclose the world.
