Stephen H. Watson
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804761253
- eISBN:
- 9780804772990
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804761253.001.0001
- Subject:
- Philosophy, Aesthetics
Why, and in what manner, did artist Paul Klee have such a significant impact on twentieth-century thinkers? His art and his writing inspired leading philosophers to produce key texts in ...
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Why, and in what manner, did artist Paul Klee have such a significant impact on twentieth-century thinkers? His art and his writing inspired leading philosophers to produce key texts in twentieth-century aesthetics, texts that influenced subsequent art history and criticism. Heidegger, Adorno, Benjamin, Merleau-Ponty, Lyotard, Sartre, Foucault, Blanchot, Derrida, and Marion are among the philosophers who have engaged with Klee's art and writings. Their views are often thought to be distant from each other, but the author of this book puts them in conversation. His point is not to vindicate any final interpretation of Klee, but to allow his interpreters' different accounts to interact, to shed light on their and on Klee's work, and, in turn, to delineate both a history and a theoretical problematic in their midst. The book reveals an evolving theoretical constellation of interpretations and their questions (theoretical, artistic, and political) that address and continually renew Klee's rich legacies.Less
Why, and in what manner, did artist Paul Klee have such a significant impact on twentieth-century thinkers? His art and his writing inspired leading philosophers to produce key texts in twentieth-century aesthetics, texts that influenced subsequent art history and criticism. Heidegger, Adorno, Benjamin, Merleau-Ponty, Lyotard, Sartre, Foucault, Blanchot, Derrida, and Marion are among the philosophers who have engaged with Klee's art and writings. Their views are often thought to be distant from each other, but the author of this book puts them in conversation. His point is not to vindicate any final interpretation of Klee, but to allow his interpreters' different accounts to interact, to shed light on their and on Klee's work, and, in turn, to delineate both a history and a theoretical problematic in their midst. The book reveals an evolving theoretical constellation of interpretations and their questions (theoretical, artistic, and political) that address and continually renew Klee's rich legacies.
Domietta Torlasco
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804758024
- eISBN:
- 9780804786775
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804758024.001.0001
- Subject:
- Philosophy, Aesthetics
This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's ...
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This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's Stratagem, Cavani's The Night Porter, and Pasolini's Oedipus Rex. The center around which these films revolve is the image of the crime scene—the spatial and temporal configuration in which a crime is committed, witnessed, and investigated. By pushing the detective story to its extreme limits, they articulate forms of time that defy any clear-cut distinction between past, present, and future—presenting an uncertain temporality which can be made visible but not calculated, and challenging notions of visual mastery and social control. If the detective story proper begins with a death that has already taken place, the death which seems to count the most in these films is the one that is yet to occur—the investigator's own death. In a time of relentless anticipation, what appears in front of the investigator's eyes is not the past as it was, but the past as it will have been in relation to the time of his or her search.Less
This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's Stratagem, Cavani's The Night Porter, and Pasolini's Oedipus Rex. The center around which these films revolve is the image of the crime scene—the spatial and temporal configuration in which a crime is committed, witnessed, and investigated. By pushing the detective story to its extreme limits, they articulate forms of time that defy any clear-cut distinction between past, present, and future—presenting an uncertain temporality which can be made visible but not calculated, and challenging notions of visual mastery and social control. If the detective story proper begins with a death that has already taken place, the death which seems to count the most in these films is the one that is yet to occur—the investigator's own death. In a time of relentless anticipation, what appears in front of the investigator's eyes is not the past as it was, but the past as it will have been in relation to the time of his or her search.
Accident Society
Across Meridians
The Adversary First Amendment
The Aesthetics of Hate
After Secular Law
After the Fall of the Wall
After Yugoslavia
An Age of Melodrama
The Agony of Greek Jews, 1940-1945
