Working from newly available texts in Heidegger's Complete Works, Krzysztof Ziarek presents Heidegger at his most radical and demonstrates how the thinker's daring use of language is an integral part of his philosophical expression. Ziarek emphasizes the liberating potential of language as an event that discloses being and amplifies Heidegger's call for a transformative approach to poetry, power, and ultimately, philosophy.
In this groundbreaking volume, Krzysztof Ziarek rethinks modern experience by bringing together philosophical critiques of modernity and avant-garde poetry. Ziarek explores, through selective readings of avant-garde poetry, the key aspects of the radical critique of experience: technology, everydayness, event, and sexual difference. To that extent, The Historicity of Experience is less a book about the avant-garde than a critique of experience through the avant-garde. Ziarek reads the avant-garde in dialogue with the work of some of the major critics of modernity (Martin Heidegger, Walter Benjamin, Jean-François Lyotard, and Luce Irigaray) to show how avant-garde experiments bear critically on the issue of modern experience and its technological organization. The four poets Ziarek considers—Gertrude Stein, Velimir Khlebnikov, Miron Biaoszewski, and Susan Howe—demonstrate the broad reach of and variety of forms taken by the avant-garde revision of experience and aesthetics. Moreover, this quartet illustrates how the main operative concepts and strategies of the avant-garde underpinned the practices of canonical writers. A profound philosophical meditation on language, modernity, and the everyday, The Historicity of Experience offers a fundamental reconceptualization of the avant-garde in relation to experience.
Proposes to rethink the ontological and ethical dimensions of language by rereading Heidegger's work and by engaging Levinas' ethics and contemporary poetics.
Working from newly available texts in Heidegger's Complete Works, Krzysztof Ziarek presents Heidegger at his most radical and demonstrates how the thinker's daring use of language is an integral part of his philosophical expression. Ziarek emphasizes the liberating potential of language as an event that discloses being and amplifies Heidegger's call for a transformative approach to poetry, power, and ultimately, philosophy.
This book reexamines the concept of the animal on the plane of immanence, as opposed to the traditional viewpoint founded on the plane of transcendence. Following Deleuze and Guattari’s notion that philosophy is a discipline of creating concepts, this book traces how the concept of the animal was created in the history of philosophy through re-reading the works of Descartes, Kant, Heidegger, Derrida and Levinas. Their theories show that the concept of the animal was constructed on the "plane of transcendence" as subservient to the self-serving human, who represents the animal as a negative entity devoid of reason, ethics, the ability to enter into political alliances or even die. With this perspective and a range of theories from thinkers such as Spinoza, Nancy, Haraway and Braidotti as the groundwork, a new positive concept of the animal, operating on the plane of immanence, is sketched out, compelling a reappraisal of the relationships between body and thought, ethics and politics, or life and death. With comprehensive interpretations of the views of several key philosophers, from Kant and Heidegger to Deleuze, Derrida and Agamben, this book will be valuable for scholars of theoretical animal studies and continental philosophy interested in the philosophical significance of the animal question.
Redefining art as a transformative "forcework," The Force of Art offers a new theory of the artwork, in which art's force is explained as a contestation of power in its modern technological manifestations.
In this groundbreaking volume, Krzysztof Ziarek rethinks modern experience by bringing together philosophical critiques of modernity and avant-garde poetry. Ziarek explores, through selective readings of avant-garde poetry, the key aspects of the radical critique of experience: technology, everydayness, event, and sexual difference. To that extent, The Historicity of Experience is less a book about the avant-garde than a critique of experience through the avant-garde. Ziarek reads the avant-garde in dialogue with the work of some of the major critics of modernity (Martin Heidegger, Walter Benjamin, Jean-François Lyotard, and Luce Irigaray) to show how avant-garde experiments bear critically on the issue of modern experience and its technological organization. The four poets Ziarek considers-Gertrude Stein, Velimir Khlebnikov, Miron Biaoszewski, and Susan Howe-demonstrate the broad reach of and variety of forms taken by the avant-garde revision of experience and aesthetics. Moreover, this quartet illustrates how the main operative concepts and strategies of the avant-garde underpinned the practices of canonical writers. A profound philosophical meditation on language, modernity, and the everyday, The Historicity of Experience offers a fundamental reconceptualization of the avant-garde in relation to experience.
Proposes to rethink the ontological and ethical dimensions of language by rereading Heidegger's work and by engaging Levinas' ethics and contemporary poetics.
Redefining art as a transformative "forcework," The Force of Art offers a new theory of the artwork, in which art's force is explained as a contestation of power in its modern technological manifestations.
This collection of essays explores the conflictual history and future implications of two important traditions of twentieth-century European thought: the critical theory of Theodor W. Adorno and the ontology of Martin Heidegger.
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