By Susan Sontag

ISBN-10: 8483462826

ISBN-13: 9788483462829

Después de Contra los angeles interpretación (1968) y Estilos radicales (1969), en Bajo el signo de Saturno (1980) se encuentran reunidos una serie de ensayos ­magníficos los dedicados a Antonin Artaud y a Leni Riefensthal­ cuyo hilo conductor es los angeles discusión sobre las frágiles relaciones entre ethical y estética. Defensora de los angeles independencia del arte respecto a las rules de sus creadores ­«una obra de arte es una cosa en el mundo, no un texto o comentario sobre el mundo»­, en esta ocasión Susan Sontag habla sobre algunos de los artistas y pensadores más influyentes de nuestra period. «Esteta enamorada y moralista obsesiva, tal y como se describía a sí misma, Sontag, más que muchos otros escritores de su generación, consideraba l. a. tarea cotidiana de pensar y sentir como aspectos dialéticos mutuos. Al depurar esa sensibilidad mientras se ocupaba de los temas más controvertidos de su época, Sontag ha creado un corpus de un mérito ejemplar.» The Boston Globe

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Now that we have used the concept of ‘unworking’ to approach the fragment, locating its conceptual grounding in Romanticism, we can shift optics, and use the fragment to consider the way unworking functions in Nancy. In the last part of the chapter ‘Fragment’, Nancy and Lacoue-Labarthe refer to the essay on romanticism by Maurice Blanchot, and reference his key word, that their choice hides the theological motif. See D. , Symphilosophie. F.  57, n. 1. Making Sense of the Fragment 43 désœuvrement.

Les Muses (Paris: Galilée, 1994). ——, Hegel: L’inquiétude du négatif (Paris: Hachette, 1997). RYOSUKE KAKINAMI Making Sense of the Fragment: A Reading of The Literary Absolute Many of the works of the ancients have become fragments. Many modern works are fragments as soon as they are written. — Friedrich Schlegel 1 Introduction What constitutes making sense of art and making sense through art? What does it mean to make sense? What does a work of art that makes sense look like? We are grounding these questions in, but also around, the thought of the philosopher Jean-Luc Nancy.

Subjectivity, also, is not a ground or foundation, but the exposure of a heterogeneous and internally dif fracted corpus of sensing within a movement of infinite referral, of sending and return, resonance and echo, of that which is sensed. Something here resembles perhaps, a crossing of the body-subject or f lesh of Merleau-Ponty’s Phénoménologie de la perception and Le Visible et l’invisible, a crossing of these, with Derrida’s thinking of dif férance. This thinking of sense, subject, and infinity directly underpins Nancy’s reading of Hegel in Hegel: l’inquiétude du négatif.

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Bajo El Signo De Saturno by Susan Sontag

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