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  • 1
    Language: English
    Year of publication: 2021
    Titel der Quelle: "Into Life"
    Angaben zur Quelle: (2021) 240-257
    Keywords: Rosenzweig, Franz, Criticism and interpretation ; Jewish philosophers History 20th century ; War (Philosophy) ; Globalization Philosophy
    Abstract: The essay constitutes a contribution to Franz Rosenzweig’s intellectual biography, which continues to be too conditioned by Nahum N. Glatzer’s book Franz Rosenzweig: His Life and Thought (1953). It aims to establish a connection between Hegel and the State (1914) and The Star of Redemption (1921) by means of Rosenzweig’s Writings on War (1917) and against the usual division of Rosenzweig’s intellectual development into two irreconcilable blocks, which is based precisely on Glatzer’s account of his life. Thus, I call into question the separation between Rosenzweig as the German historian and Friedrich Meinecke’s disciple on the one hand, and Rosenzweig as the Jewish philosopher and practicing Jew on the other. To this end, the essay provides Rosenzweig’s geopolitical interpretation of the first world war as the beginning of a process of globalization. Taking as starting point Rosenzweig’s critique of Bismarck’s Realpolitik, this process is expounded as the Christian path towards redemption and it is compared to Carl Schmitt’s Großraum theory. Lastly, Rosenzweig’s solution to Marcion’s Gnosticism, namely his relational conception of Judaism and Christianity as mutually dependent redemptive agents, is briefly described.
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  • 2
    Language: English
    Year of publication: 2021
    Titel der Quelle: "Into Life"
    Angaben zur Quelle: (2021) 194-215
    Keywords: Cavell, Stanley, Criticism and interpretation ; Rosenzweig, Franz, ; Jewish philosophy 20th century ; Ontology Philosophy ; Aesthetics Philosophy
    Abstract: The essay explores Rosenzweig’s realist ontology in the Metalogic section of the Star of Redemption and brings it into conversation with Stanley Cavell’s realist ontology of film. In each thinker’s realist ontology, the world is thought of as replete with possibilities of being viewed from infinitely many separated but interlocking perspectives. Each thinker places this realist ontology in service of profoundly different aesthetic theories. For Rosenzweig, classical tragedy stages a world where the human is thrown back upon herself and unable to share the world with others. He claims that there is no way for the tragic self to return to the world except through a divine revelation of love that breaks into the closed self and awakens a loving response. Cavell, however, argues that film is the unique modern art form in which classical tragedy and the experience of revelation are combined, where the spectator is separated from the world and also made aware of the possibility of renewing her connection to the world through a loving response that Cavell describes as the “acknowledgment” of the radical otherness of each person.
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