The Silence of the Limbs: Critiquing Culture from a Heideggerian Understanding of the Work of Art

Abstract
In 1991 Jonathan Demme's The Silence of the Lambs made off with five Academy Awards, including the coveted "Best Picture." Merely to introduce this fact I have already had to ignore several potentially relevant questions. [1] But I will spare you the tedium of endlessly qualifying my choice of subject matter; both existentialism and psychoanalysis teach us that the attempt to get behind our own starting points or render our pasts completely transparent to ourselves is an impossible task. Rather, let me lay my Heideggerian cards on the table up front, briefly outlining the methodological understanding from which I will be working in the rest of this paper.
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Rae Langton (2007). Disenfranchised Silence. In Michael Smith, Robert Goodin & Geoffrey Geoffrey (eds.), Common Minds. Oxford. 199.
Andrew Kania (2010). Silent Music. Journal of Aesthetics and Art Criticism 68 (4):343-353.
Mark Tanzer (2001). Heidegger on Freedom and Practical Judgment. Journal of Philosophical Research 26:343-357.
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