Autor/Autorin: Roeder Runhild
Runhild Roeder is an artist as well as a philosopher. Her paintings (see www.runhildroeder.com) have been shown in Europe, India and Canada. After a successful career as a gallerist in Montreal, she completed a Master´s (U. of Sherbrooke 2002) and a Doctorate (Laval U. 2006) in Philosophy, both on Gadamer, having known him personally in Heidelberg.
Following Hans-Georg Gadamer (1900-2002), a leading thinker of the phenomenological tradition in continental philosophy, Runhild Roeder reclaims the ontological ground of truth in philosophy and the humanities from scientific reductionism. She sees art as closer to comprehensive truth than science, as it enables a fluid experience of self as inner dialogue, moving along with interpretation. Like it, hermeneutics eschews Enlightenment claims to "neutral” objectivity in favour of understanding as cultivated consciousness, open in all directions at once. Art shows the way beyond the methodological application of universals, taking seriously the particular case at hand and unafraid of exploring the play of truth and the truth of play. Acknowledging for the first time Gadamer´s debt to Sir Rabindranath Tagore for this insight, this study painstakingly walks the reader through his critique of Greek and German Idealism, as he vindicates humanist Bildung against the hegemony of epistemology in philosophy, the humanities and culture. Truth happens in hermeneutic interpretation as in art: in the rapture of creative consciousness, when the dancer can no longer be told apart from the dance.
Following Hans-Georg Gadamer (1900-2002), a leading thinker of the phenomenological tradition in continental philosophy, Runhild Roeder reclaims the ontological ground of truth in philosophy and the humanities from scientific reductionism. She sees art as closer to comprehensive truth than science, as it enables a fluid experience of self as inner dialogue, moving along with interpretation. Like it, hermeneutics eschews Enlightenment claims to neutral objectivity in favour of understanding as cultivated consciousness, open in all directions at once. Art shows the way beyond the methodological application of universals, taking seriously the particular case at hand and unafraid of exploring the play of truth and the truth of play. Acknowledging for the first time Gadamer s debt to Sir Rabindranath Tagore for this insight, this study painstakingly walks the reader through his critique of Greek and German Idealism, as he vindicates humanist Bildung against the hegemony of epistemology in philosophy, the humanities and culture. Truth happens in hermeneutic interpretation as in art: in the rapture of creative consciousness, when the dancer can no longer be told apart from the dance.
Runhild Roeder is an artist as well as a philosopher. Her paintings (see www.runhildroeder.com) have been shown in Europe, India and Canada. After a successful career as a gallerist in Montreal, she completed a Master s (U. of Sherbrooke 2002) and a Doctorate (Laval U. 2006) in Philosophy, both on Gadamer, having known him personally in Heidelberg.
Über den Autor
Runhild Roeder is an artist as well as a philosopher. Her paintings (see www.runhildroeder.com) have been shown in Europe, India and Canada. After a successful career as a gallerist in Montreal, she completed a Master¿s (U. of Sherbrooke 2002) and a Doctorate (Laval U. 2006) in Philosophy, both on Gadamer, having known him personally in Heidelberg.
Klappentext
Following Hans-Georg Gadamer (1900-2002), a leading thinker of the phenomenological tradition in continental philosophy, Runhild Roeder reclaims the ontological ground of truth in philosophy and the humanities from scientific reductionism. She sees art as closer to comprehensive truth than science, as it enables a fluid experience of self as inner dialogue, moving along with interpretation. Like it, hermeneutics eschews Enlightenment claims to ¿neutral¿ objectivity in favour of understanding as cultivated consciousness, open in all directions at once. Art shows the way beyond the methodological application of universals, taking seriously the particular case at hand and unafraid of exploring the play of truth and the truth of play. Acknowledging for the first time Gadamer¿s debt to Sir Rabindranath Tagore for this insight, this study painstakingly walks the reader through his critique of Greek and German Idealism, as he vindicates humanist Bildung against the hegemony of epistemology in philosophy, the humanities and culture. Truth happens in hermeneutic interpretation as in art: in the rapture of creative consciousness, when the dancer can no longer be told apart from the dance.
