A reconstruction of aspects of the philosophy of Adorno and Heidegger. This title reconstructs the philosophy of Adorno and Heidegger in the light of the importance that these thinkers attach to two proper names: Auschwitz and Germanien. In Adorno's dialectical thinking, Auschwitz is the name of an incommensurable historical event that seems to put a provisional end to history as a negative totality. In Heidegger's thinking of Being, Germanien is a name inscribed in an historical mission on which the fate (...) of Western civilization seems to depend: it thus becomes the name of a positive totality of history. (shrink)

What does it mean to oppose AIDS, to be at odds with AIDS?... The author confronts these questions from a broad philosophical background that ranges from Kant, Nietzsche, Kierkegaard, and Heidegger to contemporary thought concerning gay activism and AIDS research.

Whenever an individual asks to be recognized, he asks for confirmation of what he believes himself to be. But he also asks for an establishing act that brings about what he will be once he has been recognized. Recognition is thus marked by a tension between two incompatible demands. Between Cultures is a philosophical attempt to discuss issues related to multiculturalism in the light of this struggle for recognition. Moving effortlessly across various disciplines, it refers to the work of Adorno, (...) Derrida, Freud, Hegel, Heidegger, Rawls, Walzer and Wittgenstein to describe a historical and critical politics of recognition. (shrink)

Esej si zastavi vprašanje o radikalni spremembi v navezavi na koncepta atopije in heterotopije. S pomočjo orodij dekonstrukcijske misli – predvsem specifičnega načina razumevanja telepatije – želi odgovoriti na vprašanje o radikalni spremembi.

Beautiful passages are passages of ‘pure presence’ inasmuch as they cannot be separated from an absence, from an absence that cannot be revoked by restoring a ‘pure presence’. Beautiful passages are passages that move and inspire because they do not withhold anything, though their gift and their surrender lies in an ellipsis that is essential to ‘pure presence’ and that cannot be sidestepped, as if a remainder, a reserve, or a surplus inhered in them. It is impossible to get a (...) grip on beautiful passages. They are riddles that have been solved but persist in the midst of their solution and do not forfeit any of their enigmaticalness. Their beauty resides in an experience of intensity, in an experience based on an elision, on a tightening and an averting. Such averting is an immediate turning towards the one who feels the intensity, touching and stimulating him as a consequence. This paper explores the question: Are there beautiful passages in Of Grammatology? (shrink)

Adorno conceives of art as something tied to its material. He understands artistic material as historically mediated: it confronts artists with technical problems that keep renewing themselves. Artworks solve these problems. When they succeed, they can only be the way they are. Their power lies in this impossibility of imagining them any different from how they appear to be. However, Adorno also suggests another idea of art: the idea of art without power.

Through an analysis of the works of Italian filmmaker Luchino Visconti, García Düttmann explores the insight that it is never the real but always the possible that blocks the path to change.