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An influential forerunner of French Existentialism, the
Russian-born thinker Lev Shestov (1866-1938) elaborated a radical
critique of rationalist knowledge and ethics from the point of view
of individual human existence. Best known for his ground-breaking
comparative studies of Tolstoy and Nietzsche, and of Dostoevsky and
Nietzsche, Shestov defined his conception as the 'philosophy of
tragedy'. Shestov's philosophical hermeneutics of the literary work
of art was later developed and disseminated through the writings of
his disciple, the Romanian-born Benjamin Fondane (1898-1944), who
was also a poet, filmmaker and playwright. The two authors provided
one of the earliest and most consistent critical accounts of
Husserlian phenomenology in France. 'The philosophy of tragedy' and
its associated notions of 'revolt' and existential truth had a
lasting impact on a number of prominent writers and philosophers
including Georges Bataille, Andre Gide, Andre Malraux, Albert Camus
and Emmanuel Levinas.
Pictures of the Mind is the first integrated study of Surrealist
photography and film, assessing the impact of early experimental
practice and theoretical discourse on prominent post-war trends in
art house cinema. Roland Barthes's interpretation of the
photographic image, alongside Jacques Derrida's concepts of
spectrality and trace, underscore an exploration of the recurrent
references to the phantomatic aspect of photography and film in
Surrealist theoretical writings and practice. The analysis uses
Derrida's account of the uncanny to shed light on the Surrealist
conception of photographic and film images as mental constructs, or
pictures of the mind, rather than mere visual representations. This
leads to a consideration of the similarities between the Surrealist
conception of beauty as fixed-explosive and Gilles Deleuze's theory
of the time-image as applied to Luis Bunuel's films. Ultimately,
the impact of Surrealism on post-war cinema is assessed as part of
a wider consideration of the status of photographic and filmic
images in the age of digital cinema. The elaboration of an
aesthetics of spectrality in early Surrealism is shown to have had
lasting implications for a range of post-war filmmakers such as
Chris Marker, Maya Deren, Nelly Kaplan, Federico Fellini, Andrei
Tarkovsky, Jan Svankmajer, Akira Kurosawa, Alejandro Jodorowsky,
Guillermo del Toro, Guy Maddin, Terry Gilliam and David Lynch.
This book examines a number of landmark shifts in our account of
the relationship between human and divine existence, as reflected
through the perception of time and corporeal experience. Drawing
together some of the best scholars in the field, this book provides
a representative cross-section of influential trends in the
philosophy of religion (e.g. phenomenology, existential thought,
Biblical hermeneutics, deconstruction) that have shaped our
understanding of the body in its profane and sacred dimensions as
site of conflicting discourses on presence and absence,
subjectivity and the death of the subject, mortality, resurrection
and eternal life.
This book examines a number of landmark shifts in our account of
the relationship between human and divine existence, as reflected
through the perception of time and corporeal experience. Drawing
together some of the best scholars in the field, this book provides
a representative cross-section of influential trends in the
philosophy of religion (e.g. phenomenology, existential thought,
Biblical hermeneutics, deconstruction) that have shaped our
understanding of the body in its profane and sacred dimensions as
site of conflicting discourses on presence and absence,
subjectivity and the death of the subject, mortality, resurrection
and eternal life.
For more than two thousand years, philosophers and theologians have
wrestled with the irreconcilable opposition between Greek
rationality (Athens) and biblical revelation (Jerusalem). In Athens
and Jersusalem, Lev Shestov—an inspiration for the French
existentialists and the foremost interlocutor of Edmund Husserl,
Martin Heidegger, and Martin Buber during the interwar
years—makes the gripping confrontation between these symbolic
poles of ancient wisdom his philosophical testament, an
argumentative and stylistic tour de force. Although the
Russian-born Shestov is little known in the Anglophone world today,
his writings influenced many twentieth-century European thinkers,
such as Albert Camus, D. H. Lawrence, Thomas Mann, Czesław
Miłosz, and Joseph Brodsky. Athens and Jerusalem is Shestov’s
final, groundbreaking work on the philosophy of religion from an
existential perspective. This new, annotated edition of Bernard
Martin’s classic translation adds references to the cited works
as well as glosses of passages from the original Greek, Latin,
German, and French. Athens and Jerusalem is Shestov at his most
profound and most eloquent and is the clearest expression of his
thought that shaped the evolution of continental philosophy and
European literature in the twentieth century.
One of the most charismatic feature films of the New Wave, A Bout
de souffle (1960) has retained its appeal not only as the emphatic
statement of a generational break with tradition, but also as
Godard's earliest rendition of a set of thematic and stylistic
motifs that would become his trademark. A Bout de souffle is now a
cult film, propelled in part by the memorable coupling of its
leading actors, Jean-Paul Belmondo and Jean Seberg, whose story on
screen seemed to portray the troubled love affair between French
cinema and Hollywood. In this original guide to the film, Ramona
Fotiade analyses in depth its production and reception, as well as
its mise-en-scene and editing. She situates A Bout de souffle in
relation to Godard's filmography and critical writings up to 1960,
focusing on a narrative and visual discourse that is now identified
with a distinctive strand in postmodern French cinema. She also
explores the impact of Godard's early counter-narrative and visual
strategies on the independent American filmmakers and the French
Cinema du Look during the 1980s and 1990s.
For more than two thousand years, philosophers and theologians have
wrestled with the irreconcilable opposition between Greek
rationality (Athens) and biblical revelation (Jerusalem). In Athens
and Jersusalem, Lev Shestov—an inspiration for the French
existentialists and the foremost interlocutor of Edmund Husserl,
Martin Heidegger, and Martin Buber during the interwar
years—makes the gripping confrontation between these symbolic
poles of ancient wisdom his philosophical testament, an
argumentative and stylistic tour de force. Although the
Russian-born Shestov is little known in the Anglophone world today,
his writings influenced many twentieth-century European thinkers,
such as Albert Camus, D. H. Lawrence, Thomas Mann, Czesław
Miłosz, and Joseph Brodsky. Athens and Jerusalem is Shestov’s
final, groundbreaking work on the philosophy of religion from an
existential perspective. This new, annotated edition of Bernard
Martin’s classic translation adds references to the cited works
as well as glosses of passages from the original Greek, Latin,
German, and French. Athens and Jerusalem is Shestov at his most
profound and most eloquent and is the clearest expression of his
thought that shaped the evolution of continental philosophy and
European literature in the twentieth century.
One of the most charismatic feature films of the New Wave, A Bout
de Souffle (1960) has retained much of its appeal not only as the
emphatic statement of a generational break with tradition, but also
as Godard's earliest rendition of a set of thematic and stylistic
motifs that would become his trademark. Sustained critical
attention over almost fifty years has made this a cult film,
propelled in part by the memorable coupling of its lead actors,
Jean-Paul Belmondo and Jean Seberg, whose story on screen seemed to
portray the troubled love affair between French cinema and
Hollywood. In this original guide to the film, Ramona Fotiade
provides an in-depth analysis of its production and reception
contexts, as well as of salient aspects mise-en-scene and editing.
She situates A Bout de Souffle in relation to Godard's filmography
and critical writings up to 1960, focusing on the elaboration of a
narrative and visual discourse that has come to be identified with
a distinctive strand in postmodern French cinema. She also explores
the impact of Godard's early counter-narrative and visual
strategies on the independent American filmmakers and the French
Cinema du Look during the 1980s and 1990s.
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