A Guide to Philosophy in Six Hours and Fifteen Minutes by Witold Gombrowicz

By Witold Gombrowicz

In a small literary gem packed with sardonic wit, amazing insights, and provocative feedback Witold Gombrowicz discusses Kant, Hegel, Schopenhauer, Kierkegaard, Sartre, and Heidegger in six "one-hour" essays—and addresses Marxism in a "fifteen-minute" piece.

"Who hasn't wanted for a painless approach to discover what the massive photographs of philosophy—Hegel and Kant, Nietzsche and Sartre—thought of the human ? It hasn't ever been effortless interpreting such ambitious thinkers, and so much explainers and textbooks both go wrong or bloodbath the language. So think my excitement in starting Witold Gombrowicz's consultant to Philosophy in Six Hours and Fifteen mins, an outstanding attempt at summarizing suggestions in daring, declarative sentences...[This booklet] is just like the path in philosophy you would like you had taken."—David Lehman, Bloomberg News

"A needs to for each reader of Gombrowicz."—Denis Hollier, ny collage

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E. 2: 65–75. Henning, Sylvie Debevic (1988) Beckett’s Critical Complicity: Carnival, Contestation, and Tradition. Lexington: University Press of Kentucky. Knowlson, James (1996) Damned to Fame: The Life of Samuel Beckett. London: Bloomsbury. Oppo, Andrea (2008) Philosophical Aesthetics and Samuel Beckett. Bern: Peter Lang. Proust, Marcel (1919–27) Á la recherche du temps perdu (edition de la Nouvelle revue française), 16 vols. Paris: Gallimard. ), The Cambridge Companion to Beckett. Cambridge: Cambridge University Press, pp.

Sugar aquatint on vélin d’Arches paper, 27 × 24 cm. © 2013 Artists Rights Society (ARS), New York / DACS, London. 37 1225 01 pages 1-266:Samuel Beckett 38 10/1/14 11:57 Page 38 david lloyd deploys more than four or five colours, and the imagination is disciplined by its commitment solely to the actually visible. Even more than Caravaggio, whose work was still largely commissioned for ecclesiastical purposes, Arikha’s work refuses any symbolic or allegorical function, a function that for a secular artist is defined by what he terms the ‘image’, something which points beyond itself to a designated meaning.

Beckett’s replacement of ‘need’ with ‘siege’ crucially changes the terms of Arikha’s engagement with the world of things, shifting the emphasis from the suggestion of an inner psychological insufficiency on the artist’s part to the assertion of a methodical and systematic focus that is something other than psychological. Similarly, the emotive ‘thirsting’ is removed from the final version, allowing the ‘feverishness’ of eye and hand to refer not so much to an inner fever as to the notorious ‘speed’, or ‘vitesse’, the word Beckett’s used in his third revision, of Arikha’s drawing.

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