Daniel Neofetou
Biographic Data
| ID | 6249901 |
|---|---|
| NAME | Daniel Neofetou |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Neofetou |
| SIGNATURE | NEOFETOU D |
| AFFILIATIONS | Birkbeck, University of London |
| ORCID | 0000-0003-3483-3513 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
The Flesh of Negation
Theodor Adorno’s 1960–1961 lecture course Ontology and Dialectics, recently translated into English, provides the most systematic articulation of his critique of Martin Heidegger. When Adorno delivered three of the lectures at the Collège de France, Maurice Merleau-Ponty was reportedly scandalised as he was at that time developing his own ontology, informed by Heidegger. However, this article problematises the assumption that Adorno’s negative di…
Greenberg’s Marxism
This previously unpublished transcript of an undated and incomplete handwritten essay on surrealist doyen Andre Breton by American art critic Clement Greenberg is illuminating in terms of the other
Political Art Criticism and the Need for Theory
Day-to-day art criticism and art theory are qualitatively distinct. Whereas the best art criticism entails a closeness to its objects which is attuned to particularity, art theory inherently makes generalized claims, whether these claims are extrapolated from the process of art criticism or not. However, this article argues that these dynamics are effectively reversed if we consider the disparity between the criticism of so-called political art a…
The Flesh of Negation
Theodor Adorno’s 1960–1961 lecture course Ontology and Dialectics, recently translated into English, provides the most systematic articulation of his critique of Martin Heidegger. When Adorno delivered three of the lectures at the Collège de France, Maurice Merleau-Ponty was reportedly scandalised as he was at that time developing his own ontology, informed by Heidegger. However, this article problematises the assumption that Adorno’s negative di…
Political Art Criticism and the Need for Theory
Day-to-day art criticism and art theory are qualitatively distinct. Whereas the best art criticism entails a closeness to its objects which is attuned to particularity, art theory inherently makes generalized claims, whether these claims are extrapolated from the process of art criticism or not. However, this article argues that these dynamics are effectively reversed if we consider the disparity between the criticism of so-called political art a…
Greenberg’s Marxism
This previously unpublished transcript of an undated and incomplete handwritten essay on surrealist doyen Andre Breton by American art critic Clement Greenberg is illuminating in terms of the other
The Flesh of Negation
Theodor Adorno’s 1960–1961 lecture course Ontology and Dialectics, recently translated into English, provides the most systematic articulation of his critique of Martin Heidegger. When Adorno delivered three of the lectures at the Collège de France, Maurice Merleau-Ponty was reportedly scandalised as he was at that time developing his own ontology, informed by Heidegger. However, this article problematises the assumption that Adorno’s negative di…
Art (3 works) · Politics (3 works) · Art history (2 works) · Art, Politics, and Modernism (2 works) · Critical Theory and Philosophy (2 works) · Criticism (2 works) · Epistemology (2 works) · Law (2 works) · Literature (2 works) · Performance art (2 works)