By Henry W. Pickford

Holocaust artistic endeavors intuitively needs to satisfy not less than standards: inventive (lest they be simply old files) and historic (lest they distort the Holocaust or develop into simply artworks). The experience of Semblance locates this troublesome inside philosophical aesthetics, as a model of the clash among aesthetic autonomy and heteronomy, and argues that Adorno's dialectic of aesthetic semblance describes the normative call for that artistic endeavors hold a dynamic rigidity among the 2. The feel of Semblance goals to maneuver past commonplace debates surrounding postmodernism through demonstrating the usefulness of up to date theories of which means and
understanding, together with these from the analytic culture. Pickford exhibits how the causal idea of names, the philosophy of tacit wisdom, the analytic philosophy of citation, Sartre's conception of the imaginary, the epistemology of testimony, and Walter Benjamin's dialectical photo can assist explicate how person artistic endeavors satisfy creative and ancient desiderata.

In shut readings of Celan's poetry, Holocaust memorials in Berlin, the quotational artist Heimrad Backer, Claude Lanzmann's movie Shoah, and artwork Spiegelman's photograph novel Maus, Pickford deals interpretations that, of their precision, specificity, and readability, inaugurate a discussion among modern analytic philosophy and modern art.

The experience of Semblance is the 1st e-book to include modern analytic philosophy in interpretations of paintings and structure, literature, and picture in regards to the Holocaust.

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Additional resources for The Sense of Semblance: Philosophical Analyses of Holocaust Art

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Wandering along the dunes many years later, I happen upon it in the sand. I read the message, note the date, the last will and testament of the one who perished. I had the right [я имел право] to do so. I have not opened someone else’s mail. The message in the bottle was addressed to the one who finds it. I found it. 25 Mandelshtam’s essay sketches out further characteristics of the “secret” or “providential” addressee and interlocutor through a variety of polemical oppositions. The characteristics I wish to emphasize revolve around an implicit model of political-ethical understanding that has escaped the notice even of those critics who have noted the “message in a bottle” motif.

In what does the obligation lie? Just as many other, painstaking readings of Celan’s poems have rescued, to the extent possible, such micrological name-using-practices, might one say that Celan’s poetics induces a certain historical experience, of the radical mortality of names? ”94 This is not merely a case of ambiguity or polysemy, since those concepts presuppose fixed meanings somehow “present” in the poem and whose correct candidate the exegete is to interpret hermeneutically: Szondi did not “interpret” the references to that Berlin day, he recognized them, because he was directly acquainted with their referents, for instance that “Eden” is the name of a Berlin hotel.

No, the circumcision of the word [the unconcealing of meaning as iterable event] is not dated in history. In this sense, it has no age, but calls forth the date. 70 To the extent that Derrida’s argumentation remains a critique of the claim to a totalized knowledge present to consciousness, it remains itself transcendental and within the tradition of metaphysics. At one place in his text on Celan he does, in the form of theoretical statements, consider the move from the transcendental, metaphysical, and descriptive to the empirical, practical, and normative conditions of sense: Shibboleth marks the multiplicity within language, insignificant difference as the condition of meaning.

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