By Stephen H. Watson
Why, and in what demeanour, did artist Paul Klee have any such major influence on twentieth-century thinkers? His paintings and his writing encouraged prime philosophers to provide key texts in twentieth-century aesthetics, texts that encouraged next paintings heritage and criticism.
Heidegger, Adorno, Benjamin, Merleau-Ponty, Lyotard, Sartre, Foucault, Blanchot, Derrida, and Marion are one of the philosophers who've engaged with Klee's artwork and writings. Their perspectives are frequently considered far-off from one another, yet Watson places them in dialog. His aspect isn't really to vindicate any ultimate interpretation of Klee yet to permit his interpreters' varied debts to have interaction, to make clear their and on Klee's paintings, and, in flip, to delineate either a background and a theoretical problematical of their midst. Crescent Moon over the Rational unearths an evolving theoretical constellation of interpretations and their questions (theoretical, creative, and political) that deal with and regularly renew Klee's wealthy legacies.
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Additional info for Crescent Moon over the Rational: Philosophical Interpretations of Paul Klee
Construed in terms of “the classical idea of intellectual adequation,” the painting (or the grapheme) will simply “leave us with the impression of a vain swirl of significations, a paralyzed or miscarried utterance” (EM: 189). Merleau-Ponty realized that none of this, strictly taken, implied the failure of philosophy, literature, painting, or the Beautiful. Closing Eye and Mind, Merleau-Ponty chooses his words discreetly, in accord with the judicium discretivum itself. Such skeptical claims about philosophy arise, he says, from a faux imaginaire.
A junkyard of unauthentic elements for creation of crystals” (D: 313). 41 Recourse to origins is no longer grounded in the substantive forms of the past but is itself productive and captures the productive transformation in abstraction. As Merleau-Ponty put it, “the originary is not of one sole type, it is not all behind us” (VI: 124). From the outset, Merleau-Ponty insisted on parsing formal truths not as a return to Platonist eternal ideas but rather as results of “productive imagination” (PhP: 386).
If there were essences (and this if was, in many respects, a strong one for both), they would be less scientifically in- Adorno’s and Merleau-Ponty’s Readings of Klee 13 tuited than conceptually elaborated; as Merleau-Ponty put it, they would need to be “read” (IPP: 19; PhP: 108). The question will be what separates them in this step beyond the Idealism of the past. Both Adorno and Merleau-Ponty privileged the aesthetic (via the work of Klee), but both criticized the account of instrumental or operational rationality that has precluded our grasping the truths of the aesthetic dimension.
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