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ID:
099979
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Publication |
2010.
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Summary/Abstract |
This article is offered as a small demonstration of what art has to say about terror and violence. It focuses on the German artist Gerhard Richter and his cycle of paintings on the life and death of the homegrown terrorists of the Baader-Meinhof group, October 18, 1977 (1988). Following Richter, it explores whether atrocity is "paintable." It investigates the encounter between the artist and the terrorist and proposes that Richter's is a profound exploration of terror and counterterror in the contemporary world.
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2 |
ID:
123059
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Publication |
2013.
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Summary/Abstract |
The article deals with the intellectual and philosophical background of Sartre's thought, which made him susceptible to the influence of left-wing totalitarian structures in general and to left-wing terrorism in particular. Consequently it is argued that Sartre's identification with Stalinism in his younger years, and his later sympathies with the infamous German Baader-Meinhof terrorist gang, were more than mere expressions of his personality, but rather part and parcel of his special blend of existentialism and philosophy. At the end of the article, Sartre's position in this matter is contrasted with the position of another existentialist French thinker, Sartre's contemporary, Albert Camus.
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3 |
ID:
124920
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Publication |
2013.
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Summary/Abstract |
The article deals with the intellectual and philosophical background of Sartre's thought, which made him susceptible to the influence of left-wing totalitarian structures in general and to left-wing terrorism in particular. Consequently it is argued that Sartre's identification with Stalinism in his younger years, and his later sympathies with the infamous German Baader-Meinhof terrorist gang, were more than mere expressions of his personality, but rather part and parcel of his special blend of existentialism and philosophy. At the end of the article, Sartre's position in this matter is contrasted with the position of another existentialist French thinker, Sartre's contemporary, Albert Camus.
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