Studies in East European Thought 56 (4):357-382 (2004)
|Abstract||Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and potentiality. Defining iek's aesthetics in terms of suspension helps to explain his partiality for Kies´lowski and Tarkovskij and bears comparison to the Russian tradition of philosophical aesthetics, in particular Aleksej Losev and Alexander Bakshy.|
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
|Through your library||Configure|
Similar books and articles
Adrian Johnston (2009). Badiou, Žižek, and Political Transformations: The Cadence of Change. Northwestern University Press.
Robert Bird (2004). Minding the Gap: Detachment and Understanding in Aleksej Losev's Dialektika Mifa. Studies in East European Thought 56 (2-3):143-160.
Robert Hopkins (2008). What Do We See in Film? Journal of Aesthetics and Art Criticism 66 (2):149–159.
R. Moolenaar (2004). Slavoj Žižek and the Real Subject of Politics. Studies in East European Thought 56 (4):259-297.
Jesse Prinz (2011). When is Film Art? Revue Internationale de Philosophie 4:473-485.
Tony Myers (2003). Slavoj Žižek. Routledge.
Sigrun Bielfeldt (2004). Die Wüste Des Realen: Slavoj Žižek Und der Deutsche Idealismus. Studies in East European Thought 56 (4):335-356.
Added to index2009-01-28
Total downloads31 ( #44,779 of 722,745 )
Recent downloads (6 months)1 ( #60,247 of 722,745 )
How can I increase my downloads?