This book investigates the writings and works of the American Abstract Expressionist artist Barnett Newman in light of ideas articulated by one of Germany's most important and influential philosophers: Martin Heidegger. At the intersection of art history and philosophy, an int...

Imaginatio et Ratio (www.imaginatioetratio.org) is a peer reviewed journal primarily focusing on the intersection between the arts and theology, hoping to allow imagination and reason to be seen as intimately intertwined-as different expressions of the same divine truth. Imaginatio et Ratio was started in the hopes that it could serve a growing community of artists and thinkers and strives to present accessible but high quality art, literary fiction, creative non-fiction, and theology/philosophy-as well as interviews and book, film, art and music reviews. The journal is published twice a year and is available in print and digital formats.

Merleau-Ponty's categories of the visible and the invisible are investigated afresh and with originality in this penetrating collection of literary and philosophical inquiries. Going beyond the traditional and current references to the mental and the sensory, mind and body, perceptual content and the abstract ideas conveyed in language, etc., these studies range from the `hidden spheres of reality', to the play of the visible and the invisible left as traces in works of human genius, the origins of intellect and language, the real and the imaginary in literature, and the `hidden realities' in the philosophy of the everyday world. These literary and philosophical probings collectively reveal the role of this disjoined/conjoined pairing in the ontopoietic establishment of reality, that is, in the manifestation of the logos of life. In tandem they bring to light the hidden play of the visible and the invisible in the emergence of our vital, societal, intimate, intellectual, and creative involvements.

Earth and Gods is an attempt to introduce the reader to Heidegger's fully developed philosophy. The title Earth and Gods gives an im pression of not being a general study of Heidegger's philosophy. However, this is not true - the earth and the gods are fundamental ontological symbols of his fully developed philosophy, namely, his third and final phase of thought. This phase repeats the problems of both preceding phases in a fuller and more developed manner; hence, it implies them. The two preceding phases are the phase of Dasein and the phase of Being. These two phases are a natural flow of fundamental problems which reach their final formation and development in the phase of earth and gods. Dasein (the first phase) leads to Being, and Being (the second phase) bursts into fundamental ontological powers of Being (Seinsmiichte) which are earth and sky, gods and mortals (the third phase). Since earth is unthinkable without sky and since gods are gods in the world of mortals - of men, the title Earth and Gods is an abbreviation of these four fundamental powers of Being. Hence, an investigation of earth and gods is an attempt to present Heidegger's philosophy as a whole. Such a presentation provides the reader with the background necessary for a more adequate and efficient understanding of the writings of Heidegger himself. Thus, Earth and Gods may rightly be considered an introduction to Hei degger's philosophy.

A comprehensive anthology of Heidegger's early essays.

The atmosphere of silence all around provided a faithful setting for Heidegger’s philosophy. I could not help comparing it with the atmosphere I had encountered in the house of Professor Berdyaev near Paris and that of Professor Jaspers in Heidelberg. In every case, the external world faithfully reflected the world of the mind. In Berdyaev’s case it was the spirit of communion; in Jaspers’s that of spiritual engagement. But in Heidegger’s case it was the spirit of overwhelming solitude. With the four essays in this book, which Professor Heidegger gave me, this much-discussed philosopher now appears for the first time before the English-speaking world. As Professor Heidegger pointed out to me, the four essays are complementary and have an organic unity. Two deal with the essence of metaphysics, the other two with the essence of poetry. The two Hölderlin studies, in Heidegger’s words, were “born out of a necessity of thought” conditioned by the questions raised in the metaphysical papers. STEFAN SCHIMANSKI

The ongoing publication of Heidegger's complete works has called into question the interpretive and translative practices that have historicized Heidegger's thinking through the adaptation of categories and mind-sets inherited from metaphysics. Ivo De Gennaro argues that the posthumous treatises in particular - many of which have yet to be translated into English - show that the "other onset of thinking" that Being and Time inaugurated and which those historicizing accounts have interpreted and translated away, has already taken place. This book, on the other hand, speaks solely from that other onset, that of being itself. While arguing the "one-pointedness" of Heidegger's entire path of thinking, De Gennaro draws mainly on the posthumous treatises to offer both a provisional exploration of, and an introduction to, a thinking whose sense and implications have barely begun to emerge. This challenging and original interpretation marks an important contribution to Heidegger scholarship.

Publisher description

Fascination with quotidian experience in modern art, literature, and philosophy promotes ecstatic forms of reflection on the very structure of the everyday world. Gosetti-Ferencei examines the ways in which modern art and literature enable a study of how we experience quotidian life. She shows that modernism, while exhibiting many strands of development, can be understood by investigating how its attentions to perception and expectation, to the common quality of things, or to childhood play gives way to experiences of ecstasis&—the stepping outside of the ordinary familiarity of the world. While phenomenology grounds this study (through Husserl, Heidegger, Merleau-Ponty, and Bachelard), what makes this book more than a treatise on phenomenological aesthetics is the way in which modernity itself is examined in its relation to the quotidian. Through the works of artists and writers such as Benjamin, C&ézanne, Frost, Klee, Newman, Pollock, Ponge, Proust, Rilke, Robbe-Grillet, Rothko, Sartre, and Twombly, the world of quotidian life can be seen to harbor a latent ecstasis. The breakdown of the quotidian through and after modernism then becomes an urgent question for understanding art and literature in its capacity to further human experience, and it points to the limits of phenomenological explications of the everyday.