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Heidegger, Being and Time
Heidegger's Being and Time 1 Karsten Harries Heidegger's Being and Time Seminar Notes Spring Semester 2014 Yale University Heidegger's Being and Time 2 Copyright Karsten Harries [email protected] Heidegger's Being and Time 3 Contents 1. Introduction 4 2. Ontology and Fundamental Ontology 16 3. Methodological Considerations 30 4. Being-in-the-World 43 5. The World 55 6. Who am I? 69 7. Understanding, Interpretation, Language 82 8. Care and Truth 96 9. The Entirety of Dasein 113 10. Conscience, Guilt, Resolve 128 11. Time and Subjectivity 145 12. History and the Hero 158 13. Conclusion 169 Heidegger's Being and Time 4 1. Introduction 1 In this seminar I shall be concerned with Heidegger's Being and Time. I shall refer to other works by Heidegger, but the discussion will center on Being and Time. In reading the book, some of you, especially those with a reading knowledge of German, may find the lectures of the twenties helpful, which have appeared now as volumes of the Gesamtausgabe. Many of these have by now been translated. I am thinking especially of GA 17 Einführung in die phänomenologische Forschung (1923/24); Introduction to Phenomenological Research, trans. Daniel O. Dahlstrom (Bloomington, Indiana University Press, 2005) GA 20 Prolegomena zur Geschichte des Zeitbegriffs (1925); History of the Concept of Time, trans. Theodore Kisiel (Bloomington, Indiana University Press, 1985) GA 21 Logik. Die Frage nach der Wahrheit (1925/26). Logic: The Question of Truth, trans. Thomas Sheehan GA 24 Die Grundprobleme der Phänomenologie (1927); The Basic Problems of Phenomenology, trans. -
Téléchargez Le Dossier De Presse
GRANDEUR DE LA PETITE FORME L’image de Bergman que je préfère, c’est celle des films 16 mm documentant ses tour- nages des années 1960, il fait beau, il est souriant, enfantin même, il est alors directeur du théâtre de Malmö où toute la saison durant il enchaîne les productions, puis quand l’été vient, que c’est relâche, il mobilise sa troupe pour tourner un film où cinéma, vacances, amours semblent se mêler en une utopie qui est peut-être la clé de cette dualité qui définit son œuvre. L’envers étant la dépression qui, plus tard, sera la source de certains de ses chefs-d’œuvre. La singularité de Bergman tient à ce qu’avant tout, la parole s’incarne. Le rapport à l’in- terprète n’est pas la vérification de l’écriture mais sa transcendance. Cette alchimie est ce qui est à l’œuvre de plus profond et de plus mystérieux dans le cinéma, son essence BERGMAN INGMAR même. Et c’est la découverte de cette vérité particulière, fragile et éphémère, sur le visage de ses acteurs, de ses actrices, qui définit l’espace le plus intime, le plus secret du cinéma et que Bergman n’a eu de cesse d’explorer, au-delà des mots. Mais que s’est-il passé en 1982 ? Quand Bergman annonce, il a soixante-quatre ans, qu’il ne fera plus de films après Fanny et Alexandre. On peut considérer que ce der- Les Fraises sauvages nier film, plus long, plus ambitieux, plus romanesque que tous les autres devait être le couronnement de son œuvre. -
Cicle En Motiu Del Centenari Del Naixement D'ingmar Bergman Juny
Dossier de premsa Simfonia Bergman Cicle en motiu del centenari del naixement d’Ingmar Bergman Juny – juliol – agost 2018 1 Dossier de premsa Simfonia Bergman Simfonia Bergman Persona (Ingmar Bergman, 1966) Pocs cineastes han sabut copsar l’esperit humà amb tanta intensitat com Ingmar Bergman, de qui se celebra ara el centenari del naixement. A la psicologia i la metafísica com a instruments d’exploració, s’hi afegeix la seva experiència teatral a l’hora de treballar amb actors com Liv Ullmann, Max von Sydow, Erland Josephson o Ingrid Thulin. Revisem extensament una filmografia que va del blanc i negre dels seus primers films al roig i negre de Crits i murmuris; dels drames a la comèdia (Somriures d’una nit d’estiu); de la ficció al documental (Farö dokument), o del cinema als formats televisius d’Escenes d’un matrimoni i Fanny i Alexander. Per presentar el cicle comptem amb la presència d’una de les col·laboradores més estretes de Bergman, considerada la seva mà dreta, Katinka Faragó, que al llarg de tres dècades va exercir d’script i productora. Presència de Katinka Faragó a la Filmoteca: Dimarts 12 de juny 20.00 h, Sala Chomón: Presentació de Trollflöjten La flauta màgica Dimecres 13 de juny 12.00 h, Sala Laya: Roda de premsa Dimecres 13 de juny 17.30 h, Sala Laya: Classe magistral (sessió gratuïta) Dimecres 13 de juny 20.00 h, Sala Chomón: Presentació de Höstsonaten Sonata de otoño 2 Dossier de premsa Simfonia Bergman Mai cap director abans d’Ingmar Bergman havia reflexionat de manera tan profunda sobre qüestions tan ineludibles com la mort, l’existència de Déu o el deteriorament de l’amor. -
100 Anni Di Ingmar Bergman
100 ANNI DI INGMAR BERGMAN settembre - dicembre 2018 UFFICIO CINEMA Collana a cura dell’Ufficio Cinema del Comune di Reggio Emilia piazza Casotti 1/c - 42121 Reggio Emilia telefono 0522/456632 - 456763 fax 0522/585241 cura rassegna e organizzazione 100 ANNI DI INGMAR BERGMAN Sandra Campanini cura catalogo Angela Cervi impaginazione Angela Cervi amministrazione Cinzia Biagi servizi tecnici Ero Incerti servizi diversi Giorgio Guerri Cinema Rosebud settembre - dicembre 2018 PROGRAMMA SOMMARIO lunedì 17 settembre 7 CIÒ CHE RISPONDE INGMAR BERGMAN, QUANDO RISPONDE • IL POSTO DELLE FRAGOLE (1957) 91’ 9 INTRODUZIONE di Jacques Mandelbaum lunedì 24 settembre 15 LO SCHIAFFO DI “LUCI D’INVERNO” • MONICA E IL DESIDERIO (1952) 92’ di Aldo Garzia mercoledì 7 novembre 21 I COLLEGHI REGISTI, LA CURIOSITÀ PER I GIOVANI di Aldo Garzia • IL SETTIMO SIGILLO (1957) 96’ LE SCHEDE lunedì 26 novembre 31 IL POSTO DELLE FRAGOLE • SUSSURRI E GRIDA (1972) 91’ 41 MONICA E IL DESIDERIO lunedì 10 dicembre 51 IL SETTIMO SIGILLO • SCENE DA UN MATRIMONIO (1975) 168’ 61 SUSSURRI E GRIDA 71 SCENE DA UN MATRIMONIO mercoledì 19 dicembre 79 FANNY E ALEXANDER • FANNY E ALEXANDER (1982) 188’ 93 BIOGRAFIA 101 FILMOGRAFIA 4 5 “”CIÒ CHE RISPONDE INGMAR BERGMAN, QUANDO RISPONDE” (Il regista)... È un illusionista. Se guardiamo l’elemento fondamentale dell’arte cinematografica constatiamo che questa si compone di piccole immagini rettangolari ognuna delle quali è separata dalle altre da una grossa riga nera. Guardando più da vicino si scopre che questi minuscoli rettangoli, i quali a prima vista sembrano contenere lo stesso motivo, differiscono l’uno dall’altro per una modificazione quasi impercettibile di tale motivo. -
Ingmar Bergman by Maaret-Koskinen English.Pdf
Foto: Bengt Wanselius Foto: INGMAR BERGMAN BY MAARET KOSKINEN Ingmar Bergman by Maaret Koskinen It is now, in the year of 2018, almost twenty years ago that Ingmar Bergman asked me to “take a look at his hellofamess” in his private library at his residence on Fårö, the small island in the Baltic Sea where he shot many of his films from the 1960s on, and where he lived until his death in 2007, at the age of 89. S IT turned out, this question, thrown foremost filmmaker of all time, but is generally re Aout seemingly spontaneously, was highly garded as one of the foremost figures in the entire premeditated on Bergman’s part. I soon came to history of the cinematic arts. In fact, Bergman is understand that his aim was to secure his legacy for among a relatively small, exclusive group of film the future, saving it from being sold off to the highest makers – a Fellini, an Antonioni, a Tarkovsky – whose paying individual or institution abroad. Thankfully, family names rarely need to be accompanied by a Bergman’s question eventually resulted in Bergman given name: “Bergman” is a concept, a kind of “brand donating his archive in its entirety, which in 2007 name” in itself. was added to the UNESCO World Heritage List, and the subsequent formation of the Ingmar Bergman Bergman’s career as a cinematic artist is unique in Foundation (www.ingmarbergman.se). its sheer volume. From his directing debut in Crisis (1946) to Fanny and Alexander (1982), he found time The year of 2018 is also the commemoration of to direct more than 40 films, including some – for Bergman’s birth year of 1918. -
Running out of Space? Architecture and the Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University
Geocentrism 1 "Running out of Space? Architecture and The Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University 1 For many years I taught a course called The Philosophy of Architecture. That I taught this course at all was the result of conversations with Kent Bloomer, who suggested, many years ago, that the undergraduate major could use such a course. Before then I had been teaching a course called The Philosophy of Modern Art. The Meaning of Modern Art, published in 1968, was the result of that course. That book was quite successful. After all these years it is still in print. But with its appearance I lost some of my interest in that course, and so I was quite ready to respond to Kent Bloomer’s invitation, especially so since my interest in architecture goes back to my childhood. That course, too, finally resulted in a Book, The Ethical Function of Architecture. It, too, has been successful. It was just honored with a second Festschrift. But, again, with the appearance of the book I lost some of my interest in the course, although I did teach it for one last time in the fall. But I have kept thinking and lecturing about architecture. Not that I have changed my position in any fundamental way. But circumstances have changed; the world has changed. More especially, the way we relate to space has changed and continues to change. Our understanding of space has changed; and since architecture may be understood as the art of bounding space that suggests that our understanding of architecture, too, will have changed. -
Genealogía Y Esperanza En La Filosofía De La Existencia De Ingmar Bergman
Genealogía y esperanza en la Filosofía de la Existencia de Ingmar Bergman Jordi Puigdomènech López Marta Al meu pare 2 Í N D I C E INTRODUCCIÓN .............................................................................................................. 4 I. INGMAR BERGMAN Y LA CINEMATOGRAFÍA NÓRDICA 1.1 La tradición nórdica: de Snörri Sturlsson a Ingmar Bergman .......... 22 1.2 Ingmar Bergman: arte y metafísica .................................................. 36 1.2.1 Bergman y su mundo ....................................................... 37 1.2.2 Elementos para una clasificación de la obra bergmaniana .. 46 1.2.2.1 La obra literaria ................................................ 48 1.2.2.2 La obra escénica .............................................. 52 1.2.2.3 La obra cinematográfica ................................... 58 II. ANÁLISIS DEL DISCURSO FÍLMICO BERGMANIANO 2.1 Poética fílmica: imágenes y símbolos .............................................. 90 2.1.1 Estética fílmica: la tragedia y el romanticismo nórdico ........ 91 2.1.2 La metafísica del artista ..................................................... 102 2.2 Filosofía de la imagen: estructura del discurso fílmico ..................... 109 2.2.1 Producción y guión ............................................................. 110 2.2.2 Imagen y encuadre .............................................................. 118 2.2.3 Ambientación y decorados ................................................... 124 2.2.4 Montaje y banda sonora ...................................................... -
Retrospektive (PDF)
61. Internationale Filmfestspiele Berlin Retrospektive Ingmar Bergman Ansikte mot ansikte (Von Angesicht zu Angesicht/Face to Face) von Ingmar Bergman mit Liv Ullmann, Erland Josephson, Aino Taube, Schweden 1975/76, schwedisch mit deutsch/französischen Untertiteln, Kopie: Cinémathèque suisse, Lausanne Ansiktet (Das Gesicht/The Magician) von Ingmar Bergman mit Max von Sydow, Ingrid Thulin, Gunnar Björnstrand, Schweden 1958, schwedisch mit englischen elektronischen Untertiteln, Kopie: Swedish Film Institute, Stockholm Aus dem Leben der Marionetten (Aus dem Leben der Marionetten/From the Life of the Marionettes) von Ingmar Bergman mit Christine Buchegger, Robert Atzorn, Martin Benrath, Rita Russek, BRD 1979/80, deutsch mit englischen Untertiteln, Kopie: Swedish Institute, Stockholm Beröringen / The Touch von Ingmar Bergman mit Elliott Gould, Bibi Andersson, Max von Sydow, Schweden/USA 1970/71, englisch/schwedisch mit englischen Untertiteln, Kopie: Swedish Film Institute, Stockholm Bilder från lekstugan (Images from the Playground) von Stig Björkman mit Ingmar Bergman, Harriet Andersson, Bibi Andersson, Schweden 2009, schwedisch mit englischen Untertiteln, Digibeta: Swedish Film Institute, Stockholm Bris Reklamfilmer von Ingmar Bergman mit Bibi Andersson, Barbro Larsson, John Botvid, Schweden 1951-53, schwedisch mit englischen Untertiteln, Kopie: Swedish Institute, Stockholm Daniel (Episode aus Stimulantia) von Ingmar Bergman mit Ingmar Bergman, Käbi Laretei, Daniel Sebastian Bergman, Schweden 1964–67, schwedisch mit englischen Untertiteln, -
Auteur and the Film Text in Audience Experiences : Ingmar Bergman – a Case Study
SCENES FROM AN AUDIENCE THE AUTEUR AND THE FILM TEXT IN AUDIENCE EXPERIENCES : INGMAR BERGMAN – A CASE STUDY 1 For my family, may we continue to inspire each other. 2 List of figures and tables Table 1: social statistics on divorce from scb.be - p. 19 Table 2: number of participants in Sweden according to gender and date of birth - p. 76 Table 3: number of participants in Belgium and Sweden according to gender and date of birth - p. 76 3 Table of Contents List of figures and tables 3 Table of Contents 4 Acknowledgments 8 Abstract English 9 Summary Dutch 10 Summary Swedish 12 one Introduction 14 1. Goals 15 2. Why Bergman? Spatial and temporal motivations. 20 3. Chapter breakdown 21 two Theory 24 1. New cinema history studies 24 1.1. The audience in focus 24 1.2. Janet Staiger 26 1.3. Annette Kuhn 28 1.3.1. Cinema memory 29 1.3.2. Memory and identity 31 1.3.3. Identity and the cinema 33 1.3.4. Memories and emotions 34 2. Traces of texts and authors in new cinema history studies 38 2.1. Exhibition, space, and place 39 2.2. Programming, admissions, and economic analysis 41 2.3. Distribution and circulation 43 2.4. Audience Reception studies 44 2.4.1. Texts 44 4 2.4.2. The auteur coming up 48 3. Revisiting auteur theory 49 4. Bergman-studies 53 4.1.1. Overview 54 4.1.2. Bergman-studies in Belgium 55 4.1.3. Reception studies on Ingmar Bergman 58 5. -
Ingmar Bergman
INGMAR BERGMAN Parte seconda - Gli anni Sessanta Settembre 2006 – maggio 2007 © www.cicibi.ch 2006 Amo molto il pubblico. Mi sono sempre detto: “Devo essere molto chiaro, devono capire ciò che dico, non è difficile” e molte volte mi sono reso conto di non essere stato abbastanza semplice, abbastanza chiaro. Ma in tutta la mia vita, ho sempre lavorato per il pubblico. (1) Non credo nell’ispirazione (…) Credo che l’ispirazione sia un’idea romantica, l’idea che le cose vengano da Dio. Ma se non si crede in nessun Dio, se si crede semplicemente nel proprio lavoro e non nell’ispirazione, si crede nella propria personale capacità creatrice, nell’esperienza, nell’applicarsi. Io credo nell’applicazione. Sono molto pedante e cerco, almeno nel mio lavoro, di essere onesto. (1) Per me, girare un film rappresenta giorni di lavoro inumanamente accanito, fatiche, occhi pieni di polvere, odori di cerone, sudore e lampade, una serie infinita di tensioni e rilassamenti, una lotta ininterrotta tra il volere e il dovere, la finzione e la realtà, la coscienza e la pigrizia. Penso alle levate di primo mattino, alle notti insonni, a un sentimento più acuto della vita, a una specie di fanatismo imperniato sul solo lavoro, per il quale divento io stesso finalmente una parte integrante della pellicola, un apparecchio ridicolmente minuscolo, il cui solo difetto è l’aver bisogno di mangiare e bere (…) Girare un film è come cercare di domare una belva preziosa e inafferrabile: ci vogliono chiarezza, meticolosità, calcoli rudi ed esatti. Aggiungete un umore inalterabile e una pazienza che non è di questo mondo. -
Kitsch and Contemporary Culture
Kitsch and contemporary culture Bert Olivier Philosophy, Centre for Advanced Studies, University of Port Elizabeth, South Africa. E-mail: [email protected] This paper addresses the question of kitsch by interpreting it as :'bad" a:t of a partic~lar kind. It draws mainl~, but not exclusively, on Karsten Harries's phenomenological exploratIOn of kItsch to pr?vIde a. framewor~ from whIch to approach kitsch in contemporary (postmodern) culture. It is shown that, by u.ncovenng attnb~tes of kItsch su~h as the self-enjoyment of the spectator and lack of reflective distance, Harries provIdes valuable pomters for assessmg what is ultimately the anaesthetizing political function of kitsch in contemporary culture. Kitsch is one of the major problems of the remembered and the sentimentalism which present. This claim may seem far-fetched to pervades it (that is, the wallowing in the some people, especially to those who take a feelings that accomp-any the memories). certain delight in "art objects" which do not The point is that kitsch manifests itself hide their status as "kitsch", like a "retro" whenever feelings seem to have lost their telephone in the shape of a 50s pink Cadillac correlates, their "objects"; whenever the whose roof serves as the receiver. 1 But this world, objects, and even other people, seem is not really surprising - those objects derive to have retreated, to be out of reach, so that their charm from the aura of nostalgia which "enjoyment" is ultimately enjoyment of surrounds them, something that is one's feelings and sensations for their own paradoxically reminiscent of a more sake instead of for the sake of "authentic" era, despite the artificiality of communicating with others or with things in the "art object". -
In Defense of Sentimentality (The Passionate Life) (2004).Pdf
In Defense of Sentimentality ROBERT C. SOLOMON OXFORD UNIVERSITY PRESS In Defense of Sentimentality thepassionatelife A Series on the Philosophy of Emotions by Robert C. Solomon Not Passion’s Slave: Emotions and Choice In Defense of Sentimentality In Defense of Sentimentalityrobert c. solomon 1 2004 1 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sa˜o Paulo Shanghai Taipei Tokyo Toronto Copyright # 2004 by Robert C. Solomon Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Solomon, Robert C. In defense of sentimentality / Robert C. Solomon. p. cm.—(The passionate life) Includes bibliographical references and index. ISBN 0-19-514550-X 1. Emotions (Philosophy) 2. Sentimentalism. I. Title. B105.E46S665 2004 1280.37—dc22 2003061007 987654321 Printed in the United States of America on acid-free paper for Kathleen and Kathryn Higgins This page intentionally left blank Preface: Emotions and Sentimentality Feeling is everything.—Johan Wolfgang von Goethe Philosophy has as much to do with feelings as it does with thoughts and thinking. It requires sensitivity and devotion as well as curiosity about the world and a critical spirit.