By E. M. Cioran
During this choice of essays and epigrams, E.M. Cioran supplies us photographs and evaluations—which he calls "admirations"—of Samuel Beckett, Jorge Luis Borges, F. Scott Fitzgerald, the poet Paul Valery, and Mircea Eliade, between others. In alternating sections of aphorisms—his "anathemas"—he promises insights on such themes as solitude, flattery, vainness, friendship, insomnia, song, mortality, God, and the trap of disillusion.
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During this number of essays and epigrams, E. M. Cioran supplies us pictures and evaluations—which he calls "admirations"—of Samuel Beckett, Jorge Luis Borges, F. Scott Fitzgerald, the poet Paul Valery, and Mircea Eliade, between others. In alternating sections of aphorisms—his "anathemas"—he supplies insights on such themes as solitude, flattery, self-importance, friendship, insomnia, song, mortality, God, and the entice of disillusion.
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Extra info for Anathemas and Admirations
It is not likely that the investigator’s own understanding of being will remain unaﬀected by this philosophical pursuit. Having laid out the basics of Heidegger’s aims and methods, it would be best now to try to get a feel for how his interpretative project really works and what it reveals. Doing this will occupy us until the concluding sections of Part I. Though I will not be oﬀering anything like a section-by-section commentary on Being and Time and will omit some topics (such as Da-sein’s spatiality) altogether, I will follow the trajectory of Heidegger’s discussion quite closely so that the reader can work back and forth between this guide and Heidegger’s original work.
That is, there are other elements of the report that need to be accounted for beyond just the cup, most notably, ‘there is’. My report, and, more importantly, the experience underwriting it, is not merely objectual, the giving of an object in and of itself, but is instead categorial: the experience and the report involve a fact, the existence of the cup. Categorial experience would appear to require a further explanation or account beyond the simple perception of an object. Take as an example another categorial perception involving my cup underwriting the report, ‘The cup is white’.
The basic idea of something’s showing itself is thus the ‘privileged’ sense, while showing-as-semblance is a ‘privative’ modiﬁcation. Both of these notions of showing are to be sharply distinguished from the idea of appearance (or worse, ‘mere appearance’). Appearance does not involve the idea of something’s showing itself, but instead means the indication of something that does not show itself. ) and the underlying disease. The symptoms serve only to indicate the disease or, to put it diﬀerently, the disease announces itself by means of the symptoms, but does not show itself via them (either as what it is or as what it is not).
Anathemas and Admirations by E. M. Cioran