By John Rundell
Aesthetics and Modernity brings jointly Agnes Heller's newest essays round the subject matters of aesthetic genres equivalent to portray, song, literature and comedy, aesthetic reception, and embodiment. The essays draw on Heller's deep appreciation of aesthetics in all its kinds from the classical to the Renaissance and the modern sessions. Heller's contemporary paintings on aesthetics explores the advanced and fraught prestige of works of art in the context of the historical past of modernity. For Heller, not just does the relation among aesthetics and modernity need to be checked out anew, but additionally the best way those phrases are conceptualized, and this is often the two-fold activity that she units for herself in those essays. She engages this job with a serious attractiveness of modernity's pitfalls. This assortment highlights those pitfalls within the context of continuous probabilities for aesthetics and our courting with artistic endeavors, and throws gentle on Heller's thought of feelings and emotions, and her thought of modernity. Aesthetics and Modernity collects the basic essays of Agnes Heller, and is a must-read for an individual attracted to Heller's significant contributions to philosophy.
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Extra info for Aesthetics and Modernity: Essays by Agnes Heller
György Lukács, “The Foundering of Form Against Life,” in György Lukács’ Soul and Form, 56. 52. See Søren Kierkegaard, The Seducer’s Diary, ed. and trans. Howard V. Hong and Edna H. Hong, with a new foreword by John Updike (Princeton, NJ: Princeton University Press, 1997), 107. See also Chanderlos de Laclos, Dangerous Liaisons, trans. with an introduction and notes by Helen Constantine (London: Penguin, 2007). 53. Agnes Heller, “Georg Lukács and Irma Seidler,” in Lukács Revalued, 27. 54. Agnes Heller, “Georg Lukács and Irma Seidler,” in Lukács Revalued, 27.
Heterogeneity and homogeneity, difference and total effect, are now brought together under a single constellation where each main star has its own planets. The jigsaw puzzle is put together and the jackpot won. But winning the jackpot also became downfall of the Concept of the Beautiful. If Beauty resides in art, if the Beautiful is the beauty of works of art and if the good work of art is the beautiful work, then Beauty must have a specific standing in the world of artworks. It must occupy the highest place there.
It is not just the bodily senses (as allegedly in the instances of taking mere pleasure). It is not mainly the “soul” (as in the case of the good). There is, I repeat, a total all-encompassing effect. The experience of the beautiful remains the total experience of mortals—of single mortals, of each one separately. WHAT IS THE SOURCE OF BEAUTY? What can be the source of this elevating, splendid, and still disquieting experience? The traditional (Platonian, metaphysical) answer is straightforward and makes everything clear.
Aesthetics and Modernity: Essays by Agnes Heller by John Rundell