Phenomenology

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By Jules Simon

Review

"Art and accountability is a cosmopolitan 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 paintings via cautious philological-textual research in their dense writings. The juxtaposition of those seminal German thinkers has engendered a desirable examine that certainly will galvanize vigorous dialogue and debate within the years to come." --
Elliot R. Wolfson, Abraham Lieberman Professor of Hebrew and Judaic reports, ny college, USA

“Art and accountability is a cosmopolitan 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 certainly will impress full of life dialogue and debate within the years to come.” --
Elliot R. Wolfson, Abraham Lieberman Professor of Hebrew and Judaic reviews, big apple collage, USA

About the Author

Jules Simon is affiliate Professor of Philosophy and Director of the heart for technological know-how, expertise, Ethics, and coverage on the college 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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Extra resources for Art and Responsibility: A Phenomenology of the Diverging Paths of Rosenzweig and Heidegger

Sample text

7 All of Part I, however, is dictated by what Rosenzweig undertakes as a negative kind of thinking and so, as our guide, Rosenzweig assumes the negating voice and omniscient authority of Mephistopheles, while we assume the role of the ardently longing, and insatiable Faust. We are the ones seeking to understand reality and our role therein, and therefore we are commanded to descend or ascend having made a pact with our guide by trusting him with our time and clearing a space for him in our lives.

Hoping to “find the All” expresses a hope for ultimate meaningfulness and directionality. Mephistopheles goes on to reply: “Descend then! I could also say ascend! / It is all the same. ) our usual ways of thinking. For Rosenzweig, this is the activity of historically informed self-reflection. And like Faust, we also go via negation in order to find out about the origin of things and the initiation of our acts. 10 Our stations along the way in the text, however, are structured by what Rosenzweig calls the metasciences that are built on a foundation of mathematical logic learned from Hermann Cohen and colored by Rosenzweig’s selective readings of aesthetic productions from antiquity.

13 In other words, all statements about god, if true, are statements made to determine what god is not. 14 26 Art and Responsibility a. The irrational, empirical starting point Rosenzweig considers god as an object for thinking by restricting our attention to centering on a particular problem, a particular Nothing of our knowledge about some as-yet-undefined entity. Drawing on Cohen’s asymptotic calculus to structure his conceptual construction, we move from nothing to something, from 0 to 1, or from the initial, particular Nothing of our knowledge of god towards a Something — towards what Rosenzweig terms the “the actuality of god” (die Wirklichkeit Gottes).

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