Barnett Newman And Heideggerian Philosophy

This book investigates the writings and works of the American Abstract Expressionist artist Barnett Newman in light of ideas articulated by one of Germany's most important and influential philosophers: Martin Heidegger. At the intersection of art history and philosophy, an int...

As a major member of the New York School, Barnett Newman is celebrated for his radical explorations of color and scale and, as a precursor to the Minimalist movement, for his significant contribution to the development of twentieth-century American art. But if his reputation and place in history have grown progressively more secure, the work he produced remains highly resistant to interpretation. His paintings are rigorously abstract, and his writings full of references to arcane metaphysical concepts. Frustrated over their inability to reconcile the works with what the artist said about them, some critics have dismissed the paintings as impenetrable. The art historian Yve-Alain Bois called Newman “the most difficult artist” he could name, and the philosopher Jean-François Lyotard declared that “there is almost nothing to ‘consume’ [in his work], or if there is, I do not know what it is.” In order to advance interpretation, this book investigates both Newman’s writings and paintings in light of ideas articulated by one of Germany’s most important and influential philosophers: Martin Heidegger. Many of the themes explored in Newman’s statements, and echoed in the titles of his paintings, betray numerous points of intersection with Heidegger’s philosophy: the question of origins, the distinctiveness of human presence, a person’s sense of place, the sensation of terror, the definition of freedom, the importance of mood to existence, the particularities of art and language, the impact of technology on modern life, the meaning of time, and the human being’s relationship to others and to the divine. When examined in the context of Heideggerian thought, these issues acquire greater concreteness, and, in turn, their relation to the artist’s paintings becomes clearer. It is the contention of this book that, at the intersection of art history and philosophy, an interdisciplinary framework emerges wherein the artist’s broader motivations and the specific meanings of his paintings prove more amenable to elucidation.

Imaginatio et Ratio (www.imaginatioetratio.org) is a peer reviewed journal primarily focusing on the intersection between the arts and theology, hoping to allow imagination and reason to be seen as intimately intertwined-as different expressions of the same divine truth. Imaginatio et Ratio was started in the hopes that it could serve a growing community of artists and thinkers and strives to present accessible but high quality art, literary fiction, creative non-fiction, and theology/philosophy-as well as interviews and book, film, art and music reviews. The journal is published twice a year and is available in print and digital formats.

Heidegger S Way Of Thinking Has Left A Rich Legacy For Post-Modern Philosophers, Particularly For Jacques Derrida Who Has Greatly Influenced Philosophy And Literature In The Modern Times.Derrida, Like His Mentor Heidegger, Understands That In The Western Philosophy, The Meaning Of Being Has Been Determined By Metaphysics Of Presence. However, Unlike Heidegger, Derrida Does Not Begin His Philosophical Career With A Question On Being. Nor Does He Take Up Philosophical Positions Traditional Or Otherwise.The Purpose Of The Present Study Is The Critical Evaluation Of Derrida S Claim That He Deconstructed One Of Heidegger S Most Important Essays The Origin Of The Work Of Art By Which He Tries To Overcome The Metaphysics Of Presence.The Book Presents An In-Depth Analysis Of Heidegger S Question Of The Meaning Of Being, And Derrida S Critique Of Western Logocentrism And His Philosophy Of Deconstruction. It Delves Into The Origin Of The Truth Of The Work Of Art Studying The Essence Of Thing, Equipment And Work Of Art, As Philosophised By Heidegger. It Discusses Truth As The Strife, Taking Originary Strife As The Essence Of The Meaning Of Being. It Also Includes Derrida S Criticism Of The Restitution Of The Truth Of The Work Of Art, And An Evaluation Of The Differential Structure Of The Truth Of The Painting As A Work Of Art. A Comparative Study Of The Philosophies Of Heidegger And Derrida Has Been Given Under Non-Originary Origin Of Truth And Difference As The Origin .References Have Been Given At The End Of Each Chapter To Facilitate Easy Understanding Of The Concepts Discussed In The Text. Besides, There Is A Comprehensive Bibliography Giving Primary As Well As Secondary Sources From Which The Book Has Drawn. The Book Shall Be Highly Useful To The Students And Teachers Of Philosophy, Theology, Metaphysics And The Researchers In These Fields.

Merleau-Ponty's categories of the visible and the invisible are investigated afresh and with originality in this penetrating collection of literary and philosophical inquiries. Going beyond the traditional and current references to the mental and the sensory, mind and body, perceptual content and the abstract ideas conveyed in language, etc., these studies range from the `hidden spheres of reality', to the play of the visible and the invisible left as traces in works of human genius, the origins of intellect and language, the real and the imaginary in literature, and the `hidden realities' in the philosophy of the everyday world. These literary and philosophical probings collectively reveal the role of this disjoined/conjoined pairing in the ontopoietic establishment of reality, that is, in the manifestation of the logos of life. In tandem they bring to light the hidden play of the visible and the invisible in the emergence of our vital, societal, intimate, intellectual, and creative involvements.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

This is the first book to consider the full range of the political thought of Francois Lyotard and its broader implications, tracing its development from his early Marxist essays to his break with the thought of Marx and Freud.

Heidegger's later philosophy has often been regarded as a lapse into unintelligible mysticism. While not ignoring its deep and difficult complexities, Julian Young's book explains in simple and straightforward language just what it is all about. It examines Heidegger's identification of loss of 'the gods', the violence of technology, and humanity's 'homelessness' as symptoms of the destitution of modernity, and his notion that overcoming 'oblivion of Being' is the essence of a turning to a post-destitute, genuinely post-modern existence. Young argues that Heidegger's conception of such an overcoming is profoundly fruitful with respect to the ancient quest to discover the nature of the good life. His book will be an invaluable resource for both students and scholars of Heidegger's works.