Deleuze's publications have attracted enormous attention, but scant attention has been paid to the existential relevance of Deleuze's writings. In the lineage of Nietzsche, Life Drawing develops a fully affirmative Deleuzean aesthetics of existence.For Foucault and Nehamas, the challenge of an aesthetics of existence is to make your life, in one way or another, a work of art. In contrast, Bearn argues that art is too narrow a concept to guide this kind of existential project. He turns instead to the more generous notion of beauty, but he argues that the philosophical tradition has mostly misconceived beauty in terms of perfection. Heraclitus and Kant are well-known exceptions to this mistake, and Bearn suggests that because Heraclitean becoming is beyond conceptual characterization, it promises a sensualized experience akin to what Kant called free beauty. In this new aesthetics of existence, the challengeis to become beautiful by releasing a Deleuzean becoming: becoming becoming. Bearn's readings of philosophical texts--by Wittgenstein, Derrida, Plato, and others--will be of interest in their own right.
The central claim of this book is that, early and late, Wittgenstein modelled his approach to existential meaning on his account of linguistic meaning. A reading of Nietzsche's The Birth of Tragedy sets up Bearn's reading of the existential point of Wittgenstein's Tractatus. Bearn argues that both books try to resolve our anxiety about the meaning of life by appeal to the deep, unutterable essence of the world. Bearn argues that as Wittgenstein's and Nietzsche's thought matured, they both separately came to believe that the answer to our existential anxiety does not lie beneath the surfaces of our lives, but in our acceptance--Nietzsche's "Yes"--of the groundless details of those surfaces themselves: the wonder of the ordinary
The central claim of this book is that, early and late, Wittgenstein modelled his approach to existential meaning on his account of linguistic meaning. A reading of Nietzsche's The Birth of Tragedy sets up Bearn's reading of the existential point of Wittgenstein's Tractatus. Bearn argues that both books try to resolve our anxiety about the meaning of life by appeal to the deep, unutterable essence of the world. Bearn argues that as Wittgenstein's and Nietzsche's thought matured, they both separately came to believe that the answer to our existential anxiety does not lie beneath the surfaces of our lives, but in our acceptance--Nietzsche's "Yes"--of the groundless details of those surfaces themselves: the wonder of the ordinary
Deleuze's publications have attracted enormous attention, but scant attention has been paid to the existential relevance of Deleuze's writings. In the lineage of Nietzsche, Life Drawing develops a fully affirmative Deleuzean aesthetics of existence.For Foucault and Nehamas, the challenge of an aesthetics of existence is to make your life, in one way or another, a work of art. In contrast, Bearn argues that art is too narrow a concept to guide this kind of existential project. He turns instead to the more generous notion of beauty, but he argues that the philosophical tradition has mostly misconceived beauty in terms of perfection. Heraclitus and Kant are well-known exceptions to this mistake, and Bearn suggests that because Heraclitean becoming is beyond conceptual characterization, it promises a sensualized experience akin to what Kant called free beauty. In this new aesthetics of existence, the challengeis to become beautiful by releasing a Deleuzean becoming: becoming becoming. Bearn's readings of philosophical texts--by Wittgenstein, Derrida, Plato, and others--will be of interest in their own right.
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