By Darren Sheppard
This is often the 1st publication to think about the expanding value of Jean-Luc Nancy's paintings, which has stimulated key thinkers reminiscent of Jacques Derrida. All his significant works were translated into English, but earlier little has been made on hand on his position in modern philosophy.By displaying how he situates his paintings in a latest context - the cave in of communism, the Gulf battle, and the previous Yugoslavia - this impressive assortment finds how Nancy's engagement with Hegel, Marx, Nietzsche, Heidegger and Derrida makes him one of many key modern continental philosophers.Providing new views at the problems with experience, artwork and neighborhood, those essays make it very unlikely to technique philosophy irrespective of the paintings Jean-Luc Nancy.
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Extra resources for On Jean-Luc Nancy: The Sense of Philosophy (Warwick Studies in European Philosophy)
So or always opens itself to another, and again to others. It makes room for places and times, at any given time a here and a now and admits each time a this in its singularity or in its singular generality; but it only ever admits them as other: as abandoned by a general law, as those abandoned by the law of the suspension of the law, which cannot collect themselves together in any 44 OU, SÉANCE, TOUCHE DE NANCY, ICI commonplace, in any topical ‘here and now’, nor in a banality. An or admits them and an or abandons them.
It is the melancholy of the onlooker, who has himself become the picture of his possibilities. His boundless sadness is the passion of being seen and is therefore the passion of the reflecting man, the aesthete and the phenomenologist, for whom everything becomes the appearance of a decision refused, restricted, or still to be taken. What he sees is hazy because he always only sees himself from the point of view of his difference and therefore from the point of view of he who is seen. Therefore the aesthete does not see—he does not see in an emphatic sense—for were he to see, his gaze would no longer focus on the pictures of his possible existence; rather, it WERNER HAMACHER 45 would rip open [aufreissen] their prospect, penetrate and outline it: his gaze would be the decision—the outline [der Aufriss]—opposite which nothing would stand as an illustrative object, but in which he would complete his existence in an aphenomenological way, without object and incapable of reflection.
Against all the calls for returns, all ‘visionary’ discourses, meaningful projections or meaning itself as project, one must affirm the exhaustion of sense, its arrival at the limit; which assuredly means the ‘closure of the possibilities of meaning for the West’. The death of God or of History or of Man would be the mark of this arrival. And in so far as this is neither the rule of distress nor its absence, the nihilism which fed on the infinite vista of sense, on disappointment and nostalgia, on loss and distance, is overcome.
On Jean-Luc Nancy: The Sense of Philosophy (Warwick Studies in European Philosophy) by Darren Sheppard