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, fabulous 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 needed for a painless method to discover what the large pictures of philosophy—Hegel and Kant, Nietzsche and Sartre—thought of the human ? It hasn't ever been effortless analyzing 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, a great attempt at summarizing thoughts in daring, declarative sentences...[This publication] is just like the path in philosophy you need you had taken."—David Lehman, Bloomberg News

"A needs to for each reader of Gombrowicz."—Denis Hollier, big apple college

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Extra resources for A Guide to Philosophy in Six Hours and Fifteen Minutes

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As the film cuts from harbor scenes to seemingly endless city vistas of agitated, rising smoke and steam, to views of nondescript pedestrians ambulating through and near cemeteries, it is not difficult to read a pessimistic view of the modern American city into the fractured spaces and staccato-like pacing of the film. Instead of hope, we are presented with a city dominated by machines and technology. Humans, and the notion of individuality, have been subsumed to an urban fabric that lacks intimacy, and one that is overbearing in its anonymity.

As noted, Sheeler and Strand’s Manhatta ends with a final intertitle: “Gorgeous clouds of the sunset! ” from Whitman’s “Crossing the Brooklyn Ferry” (1856). The final sequence and view out over the Hudson River at sunset urges us, with its invocation of the Whitmanian “I,” to realize that Sheeler and Strand’s intertitles evoke both Whitman’s historical voice, and his actual voice in the present. In Manhatta, Whitman “returns” from the nineteenth century and speaks to modern viewers in the present: he is the seer and the sayer in this film; the audience and the maker.

29 This sentiment reflects Whitman’s faith in photography’s power to record events and convey believable experiences. Whitman was one of the first authors in America to use a photographically-based portrait of himself rather than his name for the frontispiece of his book. Of course, daguerreotypes are not reproducible, so what actually appeared in the first edition of Leaves of Grass was an artists’ lithographic rendering of a portrait taken by the well-known New York photographer Gabriel Harrison.

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