Jean-Luc Nancy was een Emeritus Hoogleraar Filosofie wiens werk zich verdiept in de fundamentele vragen van bestaan, betekenis en de menselijke conditie. Zijn geschriften onderzoeken de aard van het zijn en de relatie ervan met de wereld, met een focus op thema's als vrijheid, aanwezigheid en pluraliteit. Nancy's benadering kenmerkt zich door zijn diepgang en genuanceerde analyse van complexe filosofische concepten. Zijn bijdragen nodigen lezers uit om na te denken over de essentiële aspecten van de menselijke ervaring en de zin van het leven.
The book captures a pivotal discussion among prominent philosophers Hans-Georg Gadamer, Jacques Derrida, and Philippe Lacoue-Labarthe in February 1988, focusing on Martin Heidegger's philosophy and its controversial ties to Nazism. Presented in both transcription and translation, it reveals their insights and the audience's reactions, highlighting the philosophical and political ramifications of Heidegger's ideas. This dialogue not only delves into complex themes of ethics and responsibility but also reflects on the broader implications of philosophy in society.
Originally written for an exhibition Nancy curated at the Museum of Fine Arts
in Lyon in 2007, the text addresses the medium of drawing in light of form in
its formation, of form as a formative force, opening drawing to questions of
pleasure and desire.
Is there a world anymore, let alone any sense of it? Acknowledging the lack of
meaning in our own time, and the lack of a world at the centre of meanings we
try to impose, Jean-Luc Nancy presents a critique of discourses that talk and
write their way around these absences in our lives.
In the past, pandemics were considered divine punishment, but we now understand the biological characteristics of viruses and we know they are spread by social interaction and the movement of people. What used to be divine has become human – all too human, as Nietzsche would say. But while the virus dispels the divine, we are discovering that living beings are much more complex and harder to define than we had previously thought, and also discovering that the nature and exercise of political power are more complex than we may have thought. And this, argues Nancy, helps us to see why the term ‘biopolitics’ fails to grasp the conditions in which we now find ourselves. Life and politics challenge us together. Our scientific knowledge tells us that we are dependent only on our own technical power, but can we rely on technologies when knowledge itself includes uncertainties? If this is the case for technical power, it is much more so for political power, even as it presents itself as guided by objective data and responding to legitimate expectations. The virus is a magnifying glass that reveals the contradictions, limitations and frailties of the human condition, calling into question as never before our stubborn belief in progress and our hubristic sense of our own indestructibility as a species.
Der französische Philosoph Jean-Luc Nancy denkt darüber nach, welche Aufgaben Kunst heute zu erfüllen hat und stellt einige grundlegende Fragen: Wozu braucht man Kunst? Wo fängt Kunst an? Warum ist Kunst so teuer? In einem dichten Text entfaltet Nancy seine Gedanken zum Verhältnis von Kunst und Heiligem, Kunst und Ökonomie, Kunst und Politik, sowie Kunst und Philosophie. Wozu braucht man Kunst? bildet den Auftakt der Schriftreihe Riemschneider Lectures der Staatlichen Akademie der Bildenden Künste Karlsruhe
This book, by one of the most innovative and challenging contemporary
thinkers, rethinks community and the very idea of the social. Nancy's
fundamental argument is that being is always being with, that I is not prior
to we, that existence is essentially co-existence. schovat popis
Coming by Jean-Luc Nancy is a lyrical examination of the French notion of jouissance. How did jouissance evolve from referring to the pleasure of ownership to the pleasure of orgasm? The philosophers Adèle van Reeth and Jean-Luc Nancy engage in a lively dialogue touching on authors as varied as Spinoza, the Marquis de Sade, and Henry Miller, and on subjects ranging from consumerism to mysticism.
The central problem posed in these essays, collected from over a decade, is
how in the wake of Western ontologies to conceive the coming, the birth that
characterizes being. The author discusses being and representation in relation
to Hegel, Schlegel, Baudelaire, Nietzsche, Freud, and Heidegger.
