Very little ... almost nothing
| Permalink: | http://skupnikatalog.nsk.hr/Record/ffzg.KOHA-OAI-FFZG:152258/TOC |
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| Glavni autor: | Critchley, Simon (-) |
| Vrsta građe: | Knjiga |
| Jezik: | eng |
| Impresum: |
London ; New York :
Routledge,
1997.
|
| Nakladnička cjelina: |
Warwick studies in European philosophy
|
| Predmet: |
Sadržaj:
- Preamble: Travels in nihilon
- (a) Philosophy begins in disappointment
- (b) Pre-Nietzschean nihilism
- (c) Nietzschean nihilism
- (d) Responding to nihlism: five possibilities
- (e) Heidegger's transformation of Nietzschean nihilism
- (f) Heidegger 'contra' Jünger
- (g) Impossible redemption: Adrono on nihilism
- (h) Learning how to die - the argument
- Lecture 1: Il y a
- (a) Reading Blanchot
- (b) How is literature possible?
- (c) Orpheus, or the law of desire
- (d) Blanchot's genealogy of morals: esteriority as desire, exteriority as law
- (e) Il y a - the origin of the artwork
- (i) first slope - Hegel avec Sade
- (ii) second slope - a fate worse than death
- (iii) ambiguity - Blanchot's secret
- (f) The (im)possibility of death - or, how would Blanchot read Blanchot if he were not Blanchot?
- (g) Holding Levinas's hand to Blanchot's fire
- (i) a dying future
- (ii) atheist transcendence
- Lecture 2: Unworking romanticism
- (a) Our naiveté
- (i) Kantian fragmentation
- (ii) deepest naivité - political romanticism
- (iii) Hegel, Schlegel
- (iv) romantic modernity
- (b) Digression I: Imagination as resistance (Wallace Stevens)
- (c) Romantic ambiguity
- (i) the fragment
- (ii) wit and irony
- (iii) the non-romantic essence of romanticism
- (d) Cavell's 'romanticism'
- (i) the romanticization of everyday life
- (ii) Emerson as the literary absolute
- (e) Digression II: Why Stanley loves America and why we should too
- (f) Cavell's romanticism
- (i) I live my scepticism
- (ii) Cavell's tragic wisdom
- (iii) finiteness, limitedness
- Lecture 3: Know happiness - on Beckett
- (a) Beckett and philosophical interpretation
- (b) The dredging machine (Derrida)
- (c) The meaning of meaninglessness and the paradoxical task of interpretation (Adorno I)
- (d) Hope against hope - the elevation of social sriticism to the level of form (Adorno II)
- (e) Nothing is funnier than unhappiness - Beckett's laughter (Adorno III)
- (f) Storytime, time of death (Molloy, Malone dies)
- (g) My old aporetics - the syntax of weakness (The unnameable)
- (h) Who speaks? Not I (Blanchot)
- (i) No happiness? (Cavell)