Accordingly, the dialectics lectures explicitly assert the dependence of dialectics on hermeneutics (as well as vice versa), Schleiermacher's conception of hermeneutics as a universal discipline ensures its applicability to conversations, and Schleiermacher mentions in the hermeneutics lectures that he sometimes applies his own hermeneutical principles in conversational contexts.
This suggests that Gadamer is not applying a hermeneutic method to aesthetic experience but seeking to expose the hermeneutical movement from part to whole within aesthetic experience.
It declares an unconventional hermeneutical approach to art: "if we define the task of hermeneutics as the bridging of personal or historical distance between minds, then the experience of art would seem to fall entirely outside its [hermeneutics'] provenance" (PH 95/97).
The second kind is hermeneutical injustice.
Rather, Tempier's reproach should be taken as an attempt to ridicule the hermeneutical practice of commentators to evaluate a doctrine (for instance's Aristotle's) from a philosophical point of view ("philosophically speaking") and from faith.
Seen in a larger perspective, this hermeneutic circle, the movement back and forth between the parts and the whole of the text, is an important hermeneutical theme.
It is as if Benjamin had hoped to overcome the aporia of action within his still essentially hermeneutical philosophy (Osborne 1995) through the force of language alone.
His work in this area aims at the Lesser Harmony, the "project of forging a single, consistent doctrine out of the sometimes incongruent theories found in Aristotle's many treatises;" and this marks him out as clinging to a major hermeneutical commitment of late antiquity (see Wisnovsky 2003: 15, 266).
An empirical approach would investigate causal connections between the artwork and various social factors without asking hermeneutical questions about its meaning or significance.
If ever released in its entirety, this text will constitute a serious hermeneutical challenge.
The structure of play has obvious affinities with all of the other concepts at issue here—of dialogue, phronesis, the hermeneutical situation, the truth of art.
