By Jules Simon
"Art and accountability is a cosmopolitan exploration of the moral implications of the cultured 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 reviews, long island collage, USA
“Art and accountability is a worldly exploration of the moral implications of the classy and the cultured implications of the moral. Simon explores this subject via a phenomenological research of the idea of Heidegger and Rosenzweig. rather than generating an highbrow background 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 examine that unquestionably will impress vigorous dialogue and debate within the years to come.” --
Elliot R. Wolfson, Abraham Lieberman Professor of Hebrew and Judaic reports, ny college, USA
About the Author
Jules Simon is affiliate Professor of Philosophy and Director of the guts for technological know-how, know-how, 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 publication editor for the Rosenzweig Jahrbuch/Yearbook.>
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Additional resources for Art and Responsibility: A Phenomenology of the Diverging Paths of Rosenzweig and Heidegger
Hence, learning about this realm of emptiness means learning something about The Mask of Mephistopheles 23 oneself in some kind of separation or alienation from “reality,” which means experiencing an aesthetic dimension of life. According to German and Scandinavian folklore, the Mothers are three spirits who represent the original creative forces of the universe,8 and in Faust the Mothers assume various structures and are situated on a tripod (Dreifuß). The elements Rosenzweig constructs likewise assume various structures and number three and could also be situated on a kind of a tripod; but in Rosenzweig’s case the literary tripod would literally be the three Books of Part I of his text.
The dialectical consequence is that every other outside of that Gestalt — for the Greeks — is barbarous. But such a world remains just a self-enclosed Gestalt, a ﬁgure inﬁnitely rich within and ever-renewed and clariﬁed as it rests within itself, but weak and poor from without. There is no relation from ﬁgure to ﬁgure, from statue to statue or temple to temple, since each is enclosed within itself and dictated by its own inner laws of self-satisfaction to itself. If there is an existing god/dess in the temple, s/he remains enclosed within and ineffectual for the working of the world, and thus, as macrocosm, is invisible.
However, the logos itself is not of the world but occurs in thinking abstractly about the world. ”35 Worldly order is symbolized by “= A” which represents the “passive attractive power” of the universal characterized as “that-which-is-to-be-applied” (das Anwendbare). In the sense that physis is the essence of god, logos stands for the intelligibility of the world, and even though a thinking-about-anythingwhatsoever-in-the-world is itself not in the world, it is universally applicable to the world (Allgemeingültig-keit).
Art and Responsibility: A Phenomenology of the Diverging Paths of Rosenzweig and Heidegger by Jules Simon