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The origin of the work of art

In Francois Raffoul & Eric S. Nelson (eds.), The Bloomsbury Companion to Heidegger. Bloomsbury Academic. pp. 199 (2013)

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  1. Thinking with Heidegger: Rethinking environmental theory and practice.Kevin Michael DeLuca - 2005 - Ethics and the Environment 10 (1):67-87.
    In lieu of an abstract, here is a brief excerpt of the content:Thinking with Heidegger:Rethinking Environmental Theory and PracticeKevin Michael DeLuca (bio)Environmentalism is tired. It is a movement both institutionalized and insipid. The vast majority of Americans claim to be environmentalists while buying ever more SUVs, leaf-blowers, and uncountable plastic consumer goods. Indeed, environmentalism itself has become just another practice of consumerism, a matter of buying Audubon memberships, Ansel Adams calendars, and 'biodegradable' plastic bags with one's Sierra Club credit card. (...)
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  • On questioning being: Foucault’s Heideggerian turn.Timothy Rayner - 2004 - International Journal of Philosophical Studies 12 (4):419 – 438.
    Attempts to resolve the question of Foucault's relationship to Heidegger usually look for points of substantive correlation between them: the coincidence of being and power, the meaning of truth, technology, ethics, and so on. Taking seriously Foucault's claim in his final interview that he uses Heidegger as an 'instrument of thought', this paper looks for a correlation in practice. The argument focuses on a structural isomorphism between Heidegger's concept of the fourfold event (Ereignis) of being and later Foucault's critique of (...)
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  • X—Two Shoes and a Fountain: Ecstasis, Mimesis and Engrossment in Heidegger’s The Origin of the Work of Art.Stephen Mulhall - 2019 - Proceedings of the Aristotelian Society 119 (2):201-222.
    In this essay, I argue for three interpretative claims about the philosophical strategies and examples employed in the first of Heidegger’s three lectures on ‘The Origin of the Work of Art’. I argue that his initial response to a Van Gogh painting is intended to dramatize a confusion rather than to articulate an insight; that his invocation of a poem by C. F. Meyer serves a number of functions overlooked by other commentators; and that Heidegger’s overall approach is best understood (...)
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  • After Contemporary Art: Actualization and Anachrony.Karlholm Dan - 2016 - Nordic Journal of Aesthetics 25 (51).
    Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...)
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  • Landscape as symbolic form: Remembering thick place in deep time.Gerry Gill - 2002 - Critical Horizons 3 (2):177-199.
    The current intense concern with landscape in the arts and social theory is seen as a response to the shaking of the Modern world-view, which has attended the growing awareness of the ecology crisis. The dilemmas associated with developing a new conception of the relationship between humans and the natural world is explored through a critical engagement with the work of Heidegger and Habermas.The article develops a symbolic conception of landscape as a place where the human world and the earth (...)
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  • Absurd Creation: An Existentialist View of Art?Guy Bennett-Hunter - 2009 - Philosophical Frontiers 4 (1):49-58.
    What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...)
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  • The Management of Time: New Orders for Executive Education.T. Thompson - unknown
    The non-credit bearing and ongoing education and development of mid- to late-career corporate executives is known by the compound term executive education. Reductively stated, executive education, for its corporate consumers and its business school providers, is predicated on the relationship between an order and its execution ; a relationship I call the “order-execution cognate”. With the word execution derived from Greek for sequence, and with the sequence of an execution following-on from its corresponding order, sequentiality is the essence of execution, (...)
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  • Arendt’s Revision of Praxis: On Plurality and Narrative Experience.William D. Melaney - 2005 - In Anna-Teresa Tymieniecka (ed.), Analecta Husserliana XC. Springer. pp. 465-79..
    The purpose of this paper is to examine the central role of praxis in Arendt’s conception of the human world and the structure of political life as a site of subjective interaction and narrative discourse. First, Arendt’s use of Aristotle will be presented in terms of the meaning of action as a unique philosophical category. Second, Arendt’s encounter with the work of Martin Heidegger will be shown to involve a critical response to his reading of Aristotle. Finally, the revised conception (...)
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