By Jules Simon

ISBN-10: 1441109528

ISBN-13: 9781441109521

Review

"Art and accountability is a worldly exploration of the moral implications of the classy and the classy implications of the moral. Simon explores this subject via a phenomenological research of the idea of Heidegger and Rosenzweig. rather than generating an highbrow historical past of those thinkers, the writer seeks to elicit the moral repercussions in their philosophies of artwork via cautious philological-textual research in their dense writings. The juxtaposition of those seminal German thinkers has engendered a desirable research that absolutely will galvanize full of life dialogue and debate within the years to come." --
Elliot R. Wolfson, Abraham Lieberman Professor of Hebrew and Judaic reports, long island collage, USA

“Art and accountability is a worldly exploration of the moral implications of the cultured and the classy implications of the moral. Simon explores this subject via a phenomenological research of the concept of Heidegger and Rosenzweig. rather than generating an highbrow background of those thinkers, the writer seeks to elicit the moral repercussions in their philosophies of paintings via cautious philological-textual research in their dense writings. The juxtaposition of those seminal German thinkers has engendered a desirable examine that unquestionably will galvanize full of life dialogue and debate within the years to come.” --
Elliot R. Wolfson, Abraham Lieberman Professor of Hebrew and Judaic reviews, manhattan college, USA

About the Author

Jules Simon is affiliate Professor of Philosophy and Director of the guts for technology, expertise, Ethics, and coverage on the collage of Texas at El Paso, united states. he's the co-editor of The Double Binds of Ethics after the Holocaust: Salvaging the Fragments (Palgrave MacMillan Press, 2009). Professor Simon is at the editorial board and works as booklet editor for the Rosenzweig Jahrbuch/Yearbook.>

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Additional info for Art and Responsibility: A Phenomenology of the Diverging Paths of Rosenzweig and Heidegger

Example text

According to German and Scandinavian folklore, the Mothers are three spirits who represent the original creative forces of the universe,8 and in Faust the Mothers assume various structures and are situated on a tripod (Dreifuß). The elements Rosenzweig constructs likewise assume various structures and number three and could also be situated on a kind of a tripod; but in Rosenzweig’s case the literary tripod would literally be the three Books of Part I of his text. By extension, each element corresponds to one of the three major Parts that make up the entire text, which, as a whole, would act as a contemporary interpretation of that myth.

38 At that moment (the German word for moment is “Augenblick,” which literally means the instantaneous opening of 36 Art and Responsibility an eye)39 the particular is transformed into an individual, and the universal into the species, which is defined and constituted by that particular set of individuals. The relationship of particular to universal is consummated through a process of the universal working on the individual until it has become an “individualized universal” (ein individualisiertes Allgemeines) within the limits of its own species.

By the end of Chapter 4 in this book, the reader should be better able to judge, at least preliminarily, the plausibility of such a hope. By the end of this book, in balancing Rosenzweig’s account against Heidegger’s, the reader should be in an even better position to judge competing claims for how we should proceed in prioritizing our ethical and cultural choices. For Rosenzweig, each one of the three Nothings is initially a way of referring to one of the three elements as a hypothetical principle.

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Art and Responsibility: A Phenomenology of the Diverging Paths of Rosenzweig and Heidegger by Jules Simon


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