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Rebecca A. Longtin [3]Rebecca Longtin [2]
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Rebecca Longtin
State University of New York, New Paltz
  1.  71
    Heidegger and the Poetics of Time.Rebecca A. Longtin - 2017 - Gatherings: The Heidegger Circle Annual 7:124 - 141.
    Heidegger’s engagement with the poet Friedrich Hölderlin often dwells on the issue of temporality. For Heidegger, Hölderlin is the most futural thinker (zukünftigster Denker) whose poetry is necessary for us now and must be wrested from being buried in the past. Heidegger frames his reading of Hölderlin in terms of past, present, and future and, more importantly, describes him as being able to poetize time. This paper examines what it means to poetize time and why Hölderlin’s poetry in particular allows (...)
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  2.  98
    From Factical Life to Art: Reconsidering Heidegger's Appropriation of Dilthey.Rebecca A. Longtin - 2021 - Journal of the History of Philosophy 59 (4):653-678.
  3. Mapping Transformations: The Visual Language of Foucault’s Archaeological Method.Rebecca A. Longtin - 2018 - Epoché: A Journal for the History of Philosophy 23:219 - 238.
    Scholars have thoroughly discussed the visual aspects of Foucault’s archaeological and genealogical methods, as well as his own emphasis on how sight functions and what contexts and conditions shape how we see and what we can see. Yet while some of the images and visual devices he uses are frequently discussed, like Las Meninas and the panopticon, his diagrams in The Order of Things have received little attention. Why does Foucault diagram historical ways of thinking? What are we supposed to (...)
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    Film as Phantasm: Dogville’s Cinematic Re-Evaluation of Values.Rebecca Longtin - 2019 - In The Films of Lars von Trier and Philosophy: Provocations and Engagements. London, UK: pp. 19 - 35.
    This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...)
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  5.  42
    Immanent Transcendence in the Work of Art: Heidegger and Jaspers on Van Gogh.Rebecca Longtin - 2017 - In Van Gogh Among the Philosophers: Painting, Thinking, Being. Lanham: pp. 137 – 158.
    This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that is always already here in the (...)
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