Jean-Luc Nancy was an Emeritus Professor of Philosophy whose work delves into the fundamental questions of existence, meaning, and the human condition. His writings explore the nature of being and its relationship to the world, focusing on themes such as freedom, presence, and plurality. Nancy's approach is characterized by its depth and nuanced examination of complex philosophical concepts. His contributions invite readers to contemplate the essential aspects of human experience and the meaning of life.
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
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.
Exploring the paradoxical nature of images, this collection delves into their perceived superficiality and profound power. Jean-Luc Nancy examines a wide array of visual art forms, from Renaissance paintings to modern photography, interrogating the relationship between images and concepts like truth, violence, and the sacred. He addresses complex themes such as the representation of trauma, particularly in relation to the Shoah, while reflecting on the limits of visuality and the existential questions that arise from our engagement with images.
