By Thomas Harrison
The yr 1910 marks an incredible, and principally unrecognized, juncture in Western background. during this perceptive interdisciplinary research, Thomas Harrison addresses the intense highbrow fulfillment of the time. targeting the cultural weather of heart Europe and paying specific realization to the existence and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of other discourses--philosophy, literature, sociology, tune, and portray. His superbly balanced and deeply expert research offers a brand new, wider, and extra formidable definition of expressionism and exhibits the importance of this circulation in shaping the creative and highbrow temper of the age.1910 probes the recurrent subject matters and obsessions within the paintings of intellectuals as different as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Luk?cs, Georg Simmel, Dino Campana, and Arnold Schoenberg. including Michelstaedter, who devoted suicide in 1910 on the age of 23, those thinkers shared the basic matters of expressionism: a feeling of irresolvable clash in human life, the philosophical prestige of demise, and a quest for the character of human subjectivity. Expressionism, Harrison argues provocatively, was once a final, determined try out via the intelligentsia to shield the most venerable assumptions of eu tradition. This ideological desperation, he claims, used to be greater than a religious prelude to international battle I: it was once an unheeded, prophetic critique.
Read or Download 1910: The Emancipation of Dissonance PDF
Similar aesthetics books
Drawing at the philosophies of artwork built by means of the continental authors and experiences of Anglo-American philosophers, this e-book provides a landscape of the philosophy of paintings. It discusses definitions provided from the analytical tuition together with Arthur Danto's representationalism, Dipert's theories of artefactualism, Dickie's institutional and procedural theories and Levinson's historic and cultural theories.
Comparative literature from one of many higher readers of the latter 1/2 the 20 th century. turns out to retail for a whole lot on amazon
"Since he released his tremendous 1967 essay on ekphrasis, or the literary depiction of visible paintings, Krieger has been wrestling with the bigger implications of the style for a thought of ways it manifests itself. during this considerate and thought-provoking publication, he forcefully grapples with the traditional paradox that phrases in time can appear to create photos in house. .. .This paintings of plentiful intelligence patiently unfolds the various puzzles and contradictions of ekphrasis, from the safeguard of Achilles to post-modernism. "--Virginia Quarterly Review.
What, in it sounds as if pictorial poetry, do words--can words--represent? Conversely, how can phrases in a poem be picturable? After a long time of interpreting and puzzling over the character and serve as of literary illustration, Murray Krieger right here develops his such a lot systematic theoretical assertion out of solutions to such questions. Ekphrasis is his account of the ongoing debates over which means in language from Plato to the current. Krieger sees the modernist place because the logical final result of those debates yet argues that more moderen theories considerably query the political and aesthetic assumptions of the modernists and the 2,000-year culture they declare to culminate.
Krieger specializes in ekphrasis--the literary illustration of visible artwork, genuine or imaginary--a shape at the least as outdated as its most famed instance, the defend of Achilles verbally invented within the Iliad. Heargues that the "ekphrastic principle" has remained enduringly not easy in that it displays the resistant paradoxes of illustration in phrases. As he examines the clash among spatial and temporal, among vision-centered and word-centered metaphors, Krieger finds how literary conception has been formed by means of the makes an attempt and the misleading disasters of language to do the task of the "natural signal. "
Within the mildew of his acclaimed background of attractiveness, well known cultural critic Umberto Eco’s On Ugliness is an exploration of the tremendous and the repellant in visible tradition and the humanities. what's the voyeuristic impulse at the back of our charm to the ugly and the terrible? the place does the magnetic allure of the sordid and the scandalous come from?
The 12 months 1910 marks an incredible, and mostly unrecognized, juncture in Western heritage. during this perceptive interdisciplinary research, Thomas Harrison addresses the intense highbrow success of the time. targeting the cultural weather of center Europe and paying specific realization to the existence and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of other discourses--philosophy, literature, sociology, tune, and portray.
- Feeling Beauty: The Neuroscience of Aesthetic Experience
- Beauty, Ugliness and the Free Play of Imagination: An Approach to Kant's Aesthetics
- Brodsky’s Poetics and Aesthetics
- The Philosophy of Motion Pictures
- The Practices of the Enlightenment: Aesthetics, Authorship, and the Public (Columbia Themes in Philosophy, Social Criticism, and the Arts)
Extra info for 1910: The Emancipation of Dissonance
This conjunction of moon and sun, of dying and rebirth, is all that remains after the formal orientations of rhetoric have lost their force. But so strange is such a conjunction that Michelstaedter is unable to devote more than thirty of the one hundred fifty pages of his Persuasion and Rhetoric to it. To acquire a broader sense of what Michelstaedter means by persuasion we must return to Buber and to a text that he too wrote in 1910. Persuasive Life-Experience In "The Way of the Tao" Buber describes almost the very thing that Michelstaedter means by persuasion as "fulfillment" or "perfection.
That there was a rift between it and his life? Trakl, also a suicide, spends more time depicting the dark than the luminous dimensions of holy experience. Campana ends his days among the insane. Schoenberg never outgrows his polemical bearing toward his own epoch, upholding to the end the estranged and maligned independence of the creative artist. As a current in art and thought, expressionism at large is certainly more taken by the (rhetorical) deficiencies of being than by any of its self-justifying persuasions.
However, as his intellectual curiosity prevails over the technical study of art, Michelstaedter enrolls in the University of Florence. His interests take him to the theoretical roots of humanism itself. By 1909 he has decided to write a thesis on the concepts of persuasion and rhetoric in Plato and Aristotle. His dissertation and creative writings thus show the same objective as his figurative art, and precisely the one he finds increasingly rare in contemporary culture: integration of intention and ― 70 ― expression.