John Paul Ricco
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780226717777
- eISBN:
- 9780226113371
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226113371.001.0001
- Subject:
- Philosophy, Aesthetics
Based upon his reading of the contemporary French philosopher Jean-Luc Nancy on sense, aesthetics and ethics, in this book John Paul Ricco argues that separation is the archi-spatiality or ...
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Based upon his reading of the contemporary French philosopher Jean-Luc Nancy on sense, aesthetics and ethics, in this book John Paul Ricco argues that separation is the archi-spatiality or spaciousness of existence; that aesthetics is the technique and praxis for sustaining a standing in this groundless ground; and that the ethical is the decision of this stance, and of partaking and sharing in this scene of separated spacing with other people and things. By discussing various works of modern and contemporary art, literature and philosophy including Robert Rauschenberg's Erased DeKooning Drawing to Felix Gonzalez-Torres’ candy piles and paper stacks, Marguerite Duras’ The Malady of Death, and Roland Barthes’ Camera Lucida, Ricco theorizes various ways in which shared-separation—as the source and sense of existence—is aesthetically presented and sustained as the scene of ethical decision between us. In its three-part division, the book begins with anonymous scenes of drawing and erasing, intrusion and encounter (Part One: “Name No One”), then moves to what are theorized as “naked images” and scenes staged by outstretched and extended bodies in their shared naked exposure to the outside and non-knowledge (Part Two: “Naked”), and then to scenes of exposure to the anteriority of loss, withdrawal and retreat in photography, and amongst the offering of and partaking in, the infinite expenditure of readymade things (Part Three: “Neutral and Unbecoming”).Less
Based upon his reading of the contemporary French philosopher Jean-Luc Nancy on sense, aesthetics and ethics, in this book John Paul Ricco argues that separation is the archi-spatiality or spaciousness of existence; that aesthetics is the technique and praxis for sustaining a standing in this groundless ground; and that the ethical is the decision of this stance, and of partaking and sharing in this scene of separated spacing with other people and things. By discussing various works of modern and contemporary art, literature and philosophy including Robert Rauschenberg's Erased DeKooning Drawing to Felix Gonzalez-Torres’ candy piles and paper stacks, Marguerite Duras’ The Malady of Death, and Roland Barthes’ Camera Lucida, Ricco theorizes various ways in which shared-separation—as the source and sense of existence—is aesthetically presented and sustained as the scene of ethical decision between us. In its three-part division, the book begins with anonymous scenes of drawing and erasing, intrusion and encounter (Part One: “Name No One”), then moves to what are theorized as “naked images” and scenes staged by outstretched and extended bodies in their shared naked exposure to the outside and non-knowledge (Part Two: “Naked”), and then to scenes of exposure to the anteriority of loss, withdrawal and retreat in photography, and amongst the offering of and partaking in, the infinite expenditure of readymade things (Part Three: “Neutral and Unbecoming”).
Stefan Lorenz Sorgner and Oliver Furbeth (eds)
- Published in print:
- 2011
- Published Online:
- March 2013
- ISBN:
- 9780226768373
- eISBN:
- 9780226768397
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226768397.001.0001
- Subject:
- Philosophy, Aesthetics
Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This ...
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Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This book aims to fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. The book includes contributions from a renowned group of ten scholars, including some of today's most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music.Less
Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This book aims to fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. The book includes contributions from a renowned group of ten scholars, including some of today's most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music.
Gary Peters
- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226662787
- eISBN:
- 9780226662800
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226662800.001.0001
- Subject:
- Philosophy, Aesthetics
Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, this book ranges ...
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Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, this book ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. The author turns to many of the major thinkers within continental philosophy—including Martin Heidegger, Friedrich Nietzsche, Theodor Adorno, Immanuel Kant, Walter Benjamin, and Gilles Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. The author's wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, this book will be welcomed by anyone striving to comprehend the creative process.Less
Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, this book ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. The author turns to many of the major thinkers within continental philosophy—including Martin Heidegger, Friedrich Nietzsche, Theodor Adorno, Immanuel Kant, Walter Benjamin, and Gilles Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. The author's wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, this book will be welcomed by anyone striving to comprehend the creative process.
Jessica Wiskus
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226030920
- eISBN:
- 9780226031088
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226031088.001.0001
- Subject:
- Philosophy, Aesthetics
Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so this book explores. Holding the poetry of Stéphane ...
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Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so this book explores. Holding the poetry of Stéphane Mallarmé, the paintings of Paul Cézanne, the prose of Marcel Proust, and the music of Claude Debussy under Merleau-Ponty’s phenomenological light, it offers interpretations of some of these artists’ masterworks, in turn articulating a new perspective on Merleau-Ponty’s philosophy. More than merely recovering Merleau-Ponty’s thought, the text thinks according to it. First examining these artists in relation to noncoincidence—as silence in poetry, depth in painting, memory in literature, and rhythm in music—it moves through an array of their artworks toward some of Merleau-Ponty’s most exciting themes: our bodily relationship to the world and the dynamic process of expression. The book closes with an examination of synesthesia as an intertwining of internal and external realms and a call, finally, for philosophical inquiry as a mode of artistic expression. Structured like a piece of music itself, the book offers contexts in which to approach art, philosophy, and the resonance between them.Less
Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so this book explores. Holding the poetry of Stéphane Mallarmé, the paintings of Paul Cézanne, the prose of Marcel Proust, and the music of Claude Debussy under Merleau-Ponty’s phenomenological light, it offers interpretations of some of these artists’ masterworks, in turn articulating a new perspective on Merleau-Ponty’s philosophy. More than merely recovering Merleau-Ponty’s thought, the text thinks according to it. First examining these artists in relation to noncoincidence—as silence in poetry, depth in painting, memory in literature, and rhythm in music—it moves through an array of their artworks toward some of Merleau-Ponty’s most exciting themes: our bodily relationship to the world and the dynamic process of expression. The book closes with an examination of synesthesia as an intertwining of internal and external realms and a call, finally, for philosophical inquiry as a mode of artistic expression. Structured like a piece of music itself, the book offers contexts in which to approach art, philosophy, and the resonance between them.
John Sallis
- Published in print:
- 2008
- Published Online:
- March 2013
- ISBN:
- 9780226734224
- eISBN:
- 9780226734231
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226734231.001.0001
- Subject:
- Philosophy, Aesthetics
This book develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. The author exposes ...
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This book develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. The author exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, the author also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare's comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a new elaboration of the philosophy of art.Less
This book develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. The author exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, the author also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare's comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a new elaboration of the philosophy of art.
Living Up to Death
The Mountain
Objects As Actors
The Second Birth
The Mystic Fable, Volume Two
Hegel'S theory of Intelligibility
Second-Best Justice
Lineages of Despotism and Development
Citizens, Cops, and Power
