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Showing 1 - 7 of
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What does it mean to oppose AIDS, to be at odds with AIDS? What
kind of rupture with history does AIDS represent? How does AIDS and
what is said about AIDS relate to gay identity? How does AIDS
relate to thinking and acting, particularly deconstructive
thinking? The author confronts these questions from a broad
philosophical background that ranges from Kant, Nietzsche,
Kierkegaard, and Heidegger to contemporary thought concerning gay
activism and AIDS research, all brought together in an effort to
find a philosophical language capable of doing justice to the
singularity of lived experience in the shadow of AIDS.
In examining what AIDS reveals about the conditions of existence,
Garcia Duttmann develops the idea of the "dis-unity" or
"at-odds-ness" of existence, of the "non-belonging" that
characterizes the marginalized, outcast, or abandoned, and exposes
human existence itself. He analyzes what AIDS reveals about the
character of history through two intertwined issues. First, he
examines arguments bearing on the epochal significance of AIDS, the
idea that AIDS reveals something uniquely characteristic of our
time, hence that the epidemic marks a historical caesura. Second,
he develops a theory of historical witnessing suggesting that the
phenomena of historical event and bearing witness are not at all
separate, but instead are co-originary, inhering in the same
complex.
The Memory of Thought reconstructs the philosophy of Adorno and
Heidegger in the light of the importance that these thinkers attach
to two proper names: Auschwitz and Germanien. In Adorno's
dialectical thinking, Auschwitz is the name of an incommensurable
historical event that seems to put a provisional end to history as
a negative totality. In Heidegger's thinking of Being, Germanien is
a name inscribed in an historical mission on which the fate of
Western civilization seems to depend: it thus becomes the name of a
positive totality of history.>
Something needs to be changed--be it through the revolutionary
overthrow of social conditions, the liberating force of passion,
the contemplation and creation of works of art, or the exploration
of an unresolved past. Luchino Visconti's films are models for the
failure of such attempts. They show that this failure arises
whenever people cling to possibilities that stand opposed to the
reality of their lives. Does Adorno not write: "The place of utopia
is blocked off by possibility, never by immediate reality"?
"Visconti: Insights into Flesh and Blood" draws on aesthetics, film
theory, and practical philosophy to propose an original
interpretation of the melodramas of a great European director. In
the encounter with Visconti's art, we come to see that something
has changed already.
What does it mean to oppose AIDS, to be at odds with AIDS? What
kind of rupture with history does AIDS represent? How does AIDS and
what is said about AIDS relate to gay identity? How does AIDS
relate to thinking and acting, particularly deconstructive
thinking? The author confronts these questions from a broad
philosophical background that ranges from Kant, Nietzsche,
Kierkegaard, and Heidegger to contemporary thought concerning gay
activism and AIDS research, all brought together in an effort to
find a philosophical language capable of doing justice to the
singularity of lived experience in the shadow of AIDS.
In examining what AIDS reveals about the conditions of existence,
Garcia Duttmann develops the idea of the "dis-unity" or
"at-odds-ness" of existence, of the "non-belonging" that
characterizes the marginalized, outcast, or abandoned, and exposes
human existence itself. He analyzes what AIDS reveals about the
character of history through two intertwined issues. First, he
examines arguments bearing on the epochal significance of AIDS, the
idea that AIDS reveals something uniquely characteristic of our
time, hence that the epidemic marks a historical caesura. Second,
he develops a theory of historical witnessing suggesting that the
phenomena of historical event and bearing witness are not at all
separate, but instead are co-originary, inhering in the same
complex.
A reconstruction of aspects of the philosophy of Adorno and
Heidegger. This title reconstructs the philosophy of Adorno and
Heidegger in the light of the importance that these thinkers attach
to two proper names: Auschwitz and Germanien. In Adorno's
dialectical thinking, Auschwitz is the name of an incommensurable
historical event that seems to put a provisional end to history as
a negative totality. In Heidegger's thinking of Being, Germanien is
a name inscribed in an historical mission on which the fate of
Western civilization seems to depend: it thus becomes the name of a
positive totality of history.
A series of philosophical meditations on the nature of aesthetics
across a wide array of filmmaking styles Images, whether filmic or
not, cannot be replaced by words. Yet words can make images. This
is the general thesis underlying So What, a collection of essays on
canonical filmmakers like Luchino Visconti and Orson Welles; more
experimental directors, such as Marguerite Duras and Albert Serra;
and visual artists, including Hollis Frampton and Agnes Martin.
Alexander GarcIa DUEttmann aims to make these films as if they did
not precede his text, capturing their idea and experience. If the
relationship between filmic image and text is a heterogeneous one,
then this heterogeneity must leave a trace. This is why the book's
chapters are organized not according to historical periods or on
the basis of film theories but rather by single concepts that
function like dictionary entries. The chapters adopt different
forms, blurring the lines between art and philosophy. So What is a
practical exercise in "making films with words," inviting readers
to draw out insights from its conceptual play. So What compiles
previously untranslated and hard-to-find essays into a single
volume, one that represents the absorbing and singular thought
process of a major contemporary philosopher.
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