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Marcel Proust's In Search of Lost Time has long fascinated
philosophers for its complex accounts of time, personal identity
and narrative, amongst many other themes. Proust as Philosopher:
The Art of Metaphor is the first book to try and connect Proust's
implicit ontology of experience with the question of style, and of
metaphor in particular. Miguel de Beistegui begins with an
observation: throughout In Search of Lost Time, the two main
characters seem prone to chronic dissatisfaction in matters of
love, friendship and even art. Reality always falls short of
expectation. At the same time, the narrator experiences unexpected
bouts of intense elation, the cause and meaning of which remain
elusive. Beistegui argues we should understand these experiences as
acts of artistic creation, and that this is why Proust himself
wrote that true life is the life of art. He goes on to explore the
nature of these joyful and pleasurable experiences and the
transformation required of art, and particularly literature, if it
is to incorporate them. He concludes that Proust revolutionises the
idea of metaphor, extending beyond the confines of language to
understand the nature of lived, bodily experience.
Marcel Proust's In Search of Lost Time has long fascinated
philosophers for its complex accounts of time, personal identity
and narrative, amongst many other themes. Proust as Philosopher:
The Art of Metaphor is the first book to try and connect Proust's
implicit ontology of experience with the question of style, and of
metaphor in particular. Miguel de Beistegui begins with an
observation: throughout In Search of Lost Time, the two main
characters seem prone to chronic dissatisfaction in matters of
love, friendship and even art. Reality always falls short of
expectation. At the same time, the narrator experiences unexpected
bouts of intense elation, the cause and meaning of which remain
elusive. Beistegui argues we should understand these experiences as
acts of artistic creation, and that this is why Proust himself
wrote that true life is the life of art. He goes on to explore the
nature of these joyful and pleasurable experiences and the
transformation required of art, and particularly literature, if it
is to incorporate them. He concludes that Proust revolutionises the
idea of metaphor, extending beyond the confines of language to
understand the nature of lived, bodily experience.
From Plato's Republic and Aristotle's Poetics to Nietzsche's The
Birth of Tragedy, the theme of tragedy has been subject to
radically conflicting philosophical interpretations. Despite being
at the heart of philosophical debate from Ancient Greece to the
Nineteenth Century, however, tragedy has yet to receive proper
treatment as a philosophical tradition in its own right. Philosophy
and Tragedy is a compelling contribution to that oversight and the
first book to address the topic in a major way. Eleven new essays
by internationally renowned philosophers clearly show how time and
again, major thinkers have returned to tragedy in many of their key
works. Philosophy and Tragedy aks why it is that thinkers as far
apart as Hegel and Benjamin should make tragedy such an important
theme in their work, and why, after Kant, an important strand of
philosophy should present itself tragically. From Heidegger's
reading of Sophocles' Antigone to Nietzsche and Benjamin's
book-length studies of tragedy, Philosophy and Tragedy presents an
outstanding and original study of this preoccupation. The five
sections are organised clearly around five major philosophers:
Hegel, Holderlin, Nietzsche, Heidegger, and Benjamin
Series Information: Warwick Studies in European Philosophy
This collection of essays presents some of the key issues at the
heart of Philippe Lacoue-Labarthe and Jean-Luc Nancy's work. This
volume offers perspectives on the relationship between philosophy
and the political. The authors ask if we can talk of an a priori
link between the philosophical and the political; they investigate
the significance of the "figure" - the human being as political
subject - in the history of metaphysics; and they inquire how we
can "re-treat" the political today in the face of those who argue
that philosophy is at an "end". This text brings together some of
their responses to these investigations. We see as a result some of
the key motifs that have characterized their work: their debt to a
Heideggerian pre-understanding of philosophy, the centrality of the
"figure" in western philosophy and the totalitarianism of both
politics and the political.
The work of Jean-Luc Nancy has been taken up by writers ranging
from Jacques Derrida to Claude Lefort and all his major works have
been translated into English. As many struggle to find meaning at
the end of philosophy, his writing has provided the impulse for
contemporary philosophical debates around the questions of
community, the political and freedom. Situating his work in an
explicitly contemporary context - the collapse of communism, the
Gulf War, the former Yugoslavia - Nancy has forced the reader to
rethink nothing less than what "doing" philosophy entails. The
result has been his theory of a loss of "sense", which far from
being catastrophic, allows us to think sense, art and community
anew. This volume explores this and other ideas in Nancy's work and
provides insights into one of the most contemporary philosophers
writing in the 20th century. The full range of Nancy's work as a
philosopher of the "contemporary" is considered, allowing us to see
his engagement with Hegel, Marx, Nietzche, Heidegger, Bataille and
Derrida.
In this study, Paola Marrati approaches--in an extremely
insightful, rigorous, and well-argued way--the question of the
philosophical sources of Derrida's thought through a consideration
of his reading of both Husserl and Heidegger. A central focus of
the book is the analysis of the concepts of genesis and trace as
they define Derrida's thinking of historicity, time, and
subjectivity. Notions such as the contamination of the empirical
and the transcendental, dissemination and writing, are explained as
key categories establishing a guiding thread that runs through
Derrida's early and later works. Whereas in his discussion of
Husserl Derrida problematizes the relationship between the ideality
of meaning and the singularity of its historical production, in his
interpretation of Heidegger he challenges the very idea of the
originary finitude of temporality.
This book is essential reading not only for those interested in the
philosophical roots of deconstruction, but for all those interested
in the central questions of history and temporality, subjectivity
and language, that pervade contemporary debates in cultural,
literary, and visual theory alike.
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Portrait (Paperback)
Jean-Luc Nancy; Translated by Sarah Clift, Simon Sparks; Introduction by Jeffrey S. Librett
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R683
Discovery Miles 6 830
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Ships in 12 - 17 working days
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This book examines the practice of portraits as a way in to
grasping the paradoxes of subjectivity. To Nancy, the portrait is
suspended between likeness and strangeness, identity and distance,
representation and presentation, exactitude and forcefulness. It
can identify an individual, but it can also express the dynamics by
means of which its subject advances and withdraws. The book
consists of two extended essays written a decade apart but in close
conversation, in which Nancy considers the range of aspirations
articulated by the portrait. Heavily illustrated, it includes a
newly written preface bringing the two essays together and a
substantial Introduction by Jeffrey Librett, which places Nancy's
work within the range of thinking of aesthetics and the subject,
from religion, to aesthetics, to psychoanalysis. Though undergirded
by a powerful grasp of the philosophical and psychoanalytic
tradition that has rendered our sense of the subject so
problematic, Nancy's book is at heart a delightful, unpretentious
reading of three dozen portraits, from ancient drinking mugs to
recent experimental or parodic pieces in which the artistic
representation of a sitter is made from their blood, germ cultures,
or DNA. The contemporary world of ubiquitous photos, Nancy argues,
in no way makes the portrait a thing of the past. On the contrary,
the forms of appearing that mark the portrait continue to challenge
how we see the bodies and representations that dominate our world.
This collection of writings by Jean-Luc Nancy, the renowned French
critic and poet, delves into the history of philosophy to locate a
fundamentally poetic modus operandi there. The book represents a
daring mixture of Nancy's philosophical essays, writings about
artworks, and artwork of his own. With theoretical rigor, Nancy
elaborates on the intrinsic multiplicity of art as a concept of
"making," and outlines the tensions inherent in the faire, the
"making" that characterizes the very process of production and
thereby the structure of poetry in all its forms. Nancy shows that
this multiplication that belongs to the notion of art makes every
single work communicate with every other, all material in the
artwork appeal to some other material, and art the singular plural
of a praxis of the finite imparting of an infinity which is
actually there in every utterance. In the collection, Nancy engages
with the work of, among others, Francois Martin, Maurice Blanchot,
and On Kawara.
This collection of writings by Jean-Luc Nancy, the renowned French
critic and poet, delves into the history of philosophy to locate a
fundamentally poetic modus operandi there. The book represents a
daring mixture of Nancy's philosophical essays, writings about
artworks, and artwork of his own. With theoretical rigor, Nancy
elaborates on the intrinsic multiplicity of art as a concept of
"making," and outlines the tensions inherent in the faire, the
"making" that characterizes the very process of production and
thereby the structure of poetry in all its forms. Nancy shows that
this multiplication that belongs to the notion of art makes every
single work communicate with every other, all material in the
artwork appeal to some other material, and art the singular plural
of a praxis of the finite imparting of an infinity which is
actually there in every utterance. In the collection, Nancy engages
with the work of, among others, François Martin, Maurice Blanchot,
and On Kawara.
In this study, Paola Marrati approaches--in an extremely
insightful, rigorous, and well-argued way--the question of the
philosophical sources of Derrida's thought through a consideration
of his reading of both Husserl and Heidegger. A central focus of
the book is the analysis of the concepts of genesis and trace as
they define Derrida's thinking of historicity, time, and
subjectivity. Notions such as the contamination of the empirical
and the transcendental, dissemination and writing, are explained as
key categories establishing a guiding thread that runs through
Derrida's early and later works. Whereas in his discussion of
Husserl Derrida problematizes the relationship between the ideality
of meaning and the singularity of its historical production, in his
interpretation of Heidegger he challenges the very idea of the
originary finitude of temporality.
This book is essential reading not only for those interested in the
philosophical roots of deconstruction, but for all those interested
in the central questions of history and temporality, subjectivity
and language, that pervade contemporary debates in cultural,
literary, and visual theory alike.
|
Portrait (Hardcover)
Jean-Luc Nancy; Translated by Sarah Clift, Simon Sparks; Introduction by Jeffrey S. Librett
|
R2,121
Discovery Miles 21 210
|
Ships in 12 - 17 working days
|
This book examines the practice of portraits as a way in to
grasping the paradoxes of subjectivity. To Nancy, the portrait is
suspended between likeness and strangeness, identity and distance,
representation and presentation, exactitude and forcefulness. It
can identify an individual, but it can also express the dynamics by
means of which its subject advances and withdraws. The book
consists of two extended essays written a decade apart but in close
conversation, in which Nancy considers the range of aspirations
articulated by the portrait. Heavily illustrated, it includes a
newly written preface bringing the two essays together and a
substantial Introduction by Jeffrey Librett, which places Nancy's
work within the range of thinking of aesthetics and the subject,
from religion, to aesthetics, to psychoanalysis. Though undergirded
by a powerful grasp of the philosophical and psychoanalytic
tradition that has rendered our sense of the subject so
problematic, Nancy's book is at heart a delightful, unpretentious
reading of three dozen portraits, from ancient drinking mugs to
recent experimental or parodic pieces in which the artistic
representation of a sitter is made from their blood, germ cultures,
or DNA. The contemporary world of ubiquitous photos, Nancy argues,
in no way makes the portrait a thing of the past. On the contrary,
the forms of appearing that mark the portrait continue to challenge
how we see the bodies and representations that dominate our world.
|
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