The Philosophy of ImprovisationUniversity of Chicago Press, 1. 8. 2009 - 200 strán (strany) Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, The Philosophy of Improvisation ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, The Philosophy of Improvisation will be welcomed by anyone striving to comprehend the creative process. |
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... to a modernist aesthetic (or ideology) of innovation and novelty that is often at odds with the real predicament of the artist at work. The initial chapter is of an introductory nature, an initial Introduction: The Sense of a Beginning.
... predicament of the improvisor as described throughout this book. The discussion proper begins in chapter 2 with an extended account of free-improvisation. Presented and promoted throughout as an exem- plary form, free-improvisation is ...
... predicament within which the artist performer is saddled with the “tragic” task of preserving the beginning of art without destroying the freedom of this origin through the creation of an artwork conceived as an end. As a consequence of ...
... predicament. In another attempt to save improvisation from the charge that it merely rehashes the given, chapter 4 embarks upon a reading of Heidegger, Emmanuel Levinas, Friedrich Nietzsche, and Gilles Deleuze with a view to ...
... predicament of the improvi- sor, the dynamics of creative strategy rather than the problematics of a specific (often brute) aesthetic situation, leaves its mark on the literature as a vibrant positivity that is as infectious as it is ...
Obsah
1 | |
9 | |
2 Freedom Origination and Irony | 21 |
3 Mimesis and Cruelty | 75 |
4 Improvisation Origination and Renovation | 117 |
Improvising Thinking Writing | 145 |
Notes | 171 |
Bibliography | 181 |
Index | 187 |