By Gerhard Richter
Gerhard Richter's groundbreaking research argues that the idea that of "afterness" is a key determine within the proposal and aesthetics of modernity. It pursues questions corresponding to: What does it suggest for whatever to "follow" anything else? Does that which follows mark a transparent holiday with what got here earlier than it, or does it in truth tacitly perpetuate its predecessor by reason of its inevitable indebtedness to the phrases and prerequisites of that from which it claims to have departed? certainly, isn't the very act of breaking with, after which following upon, a manner of retroactively developing and fortifying that from which the holiday that set the flow of following into movement had occurred?
The publication explores the concept that and move of afterness as a privileged but uncanny class via shut readings of writers equivalent to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It exhibits how the vexed options of afterness, following, and coming after shed new mild on a constellation of contemporary preoccupations, together with own and cultural reminiscence, translation, images, wish, and the historic and conceptual specificity of what has been termed "after Auschwitz." The study's a number of analyses—across a heterogeneous number of smooth writers and thinkers, various old moments of articulation, and more than a few media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered by means of the 'after.'" As Richter's tricky examine demonstrates, a lot hinges on our interpretation of the "after." in the end, our such a lot primary assumptions touching on glossy aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
Read or Download Afterness: Figures of Following in Modern Thought and Aesthetics PDF
Best aesthetics books
Relocating deftly between literary and visible arts, in addition to the fashionable severe canon, Christopher Prendergast's ebook explores the which means and cost of illustration as either a philosophical problem (What does it suggest to create a picture that "stands for" anything absent? ) and a political factor (Who has the perfect to symbolize whom?
Artwork has continually been very important for faith or spirituality. Secular artwork displayed in museums is additionally religious, and it's this paintings that's the topic of this ebook. a number of the artworks produced by means of Wassily Kandinsky, Mark Rothko, Andy Warhol, and Anselm Kiefer are religious in nature. those works demonstrate their very own spirituality, which frequently has no connection to legitimate religions.
Few phenomena are as formative of our adventure of the visible international as monitors of anguish. yet what does it suggest to have a moral event of tense or traumatizing pictures? what sort of moral proposition does a picture of ache mobilize? How may possibly the spectator study from and utilize the painful snapshot as a resource of moral mirrored image?
- Aesthetics: The Key Thinkers
- Critique of Pure Music
- Language and History in Adorno's Notes to Literature (Studies in Philosophy)
- A World Art History And Its Objects
- Good Taste, Bad Taste, and Christian Taste: Aesthetics in Religious Life
Extra resources for Afterness: Figures of Following in Modern Thought and Aesthetics
But it is a paradoxical unity, a unity of disunity: it pours us all into a maelstrom of perpetual disintegration and renewal, of struggle and contradiction, of ambiguity and anguish. ”1 Berman ultimately anchors his thoughtful account of modernity, which emerges in constant dialogue with the work of Marx, ﬁrst and foremost—and perhaps at times too single-mindedly—in the political economy of early capitalist development and the earliest versions of something like a world market in the sixteenth century.
He explains: If all humans, instead of eyes, had green glasses, they would have to conclude that the objects which they perceive through them are green— and they would never be able to decide if their eye shows them the things as they are or if it adds something that does not belong to the things but to the eye. So it is with the understanding [dem Verstande]. We cannot decide if what we call truth is truly truth or if it only appears 32 afterness a nd mo d erni ty as such to us. If the latter is the case, then the truth that we gather here is no longer after our death—and all striving to acquire property that also follows us to the grave is in vain.
Rather than strive for the illusion of completeness or closure, this study takes its cue from Hegel’s remark, in the Phenomenology of Spirit, that “the known is, precisely because it is known, not cognized [Das Bekannte überhaupt ist darum, weil es bekannt ist, nicht erkannt]. ”33 In keeping with Hegel’s insight, this study will not presuppose the after as a known category about which one could simply write a history—for histories, to the extent that they are always histories of something, must methodologically presuppose a certain unity, familiarity, and presumed knowledge of their objects of study.
Afterness: Figures of Following in Modern Thought and Aesthetics by Gerhard Richter