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This collective volume aims to highlight the philosophical and
literary idea of apocalypse within key examples in the Slavic world
during the nineteenth and twentieth centuries. From Russian realism
to avant-garde painting, from the classic fiction of the nineteenth
century to twentieth-century philosophy, not omitting theatre,
cinema or music, the concepts of "end of history" and "end of
present time" are specifically examined as conditions for a
redemptive image of the world. To understand this idea is to
understand an essential part of Slavic culture, which, however
divergent and variegated it may be, converges on this specific myth
in a surprising manner.
This collective volume aims to highlight the philosophical and
literary idea of apocalypse, within some key examples in the Slavic
world during the nineteenth and twentieth centuries. From Russian
realism to avant-garde painting, from the classic fiction of the
nineteenth century to twentieth-century philosophy, and not
omitting theatre, cinema or music, there is a specific examination
of the concepts of "end of history" and "end of present time" as
conditions for a redemptive image of the world. To understand this
idea means to understand an essential part of Slavic culture,
which, however divergent and variegated it may be in general,
converges on this specific myth in a surprising manner.
This book examines the role of Samuel Beckett in contemporary
philosophical aesthetics, primarily through analysis of both his
own essays and the various interpretations that philosophers
(especially Adorno, Blanchot, Deleuze, and Badiou) have given to
his works. The study centres around the fundamental question of the
relationship between art and truth, where art, as a negative truth,
comes to its complete exhaustion (as Deleuze terms it) by means of
a series of 'endgames' that progressively involve philosophy,
writing, language and every individual and minimal form of
expression. The major thesis of the book is that, at the heart of
Beckett's philosophical project, this 'aesthetics of truth' turns
out to be nothing other than the real subject itself, within a
contradictory and tragic relationship that ties the Self/Voice to
the Object/Body. Yet a number of questions remain open. 'What' or
'who' lies behind this process? What is left of the endgame of art
and subjectivity? Finally, what sustains and renders possible
Beckett's paradoxical axiom of the 'impossibility to express'
alongside the 'obligation to express'? By means of a thorough
overview of the most recent criticism of Beckett, this book will
try to answer these questions.
This study spans, in a single monograph, the entire life and work
of the Russian philosopher Lev Shestov (1866-1938). It offers keys
to understanding his thought, while also tracing the historical
itinerary of his work. Shestov's thought is not only interesting in
itself, as a "philosophy fighting against philosophy," but also
because it reveals an entire world of cultural connections in its
extraordinarily keen exploration of other "souls." The reader will
find in Shestov some of the sharpest analyses of authors such as
Shakespeare, Nietzsche, Tolstoi, Dostoevskii, Luther, Plotinus,
Pascal, Kierkegaard and many others. This study will better
determine the controversial and fascinating philosopher's place in
the history of Russian and Western thought.
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