Lays out the theoretical development of modernism from Goethe and his transcritical strand of modernism, through to the cultural criticism of Walter Benjamin, and the early 20th-century intellectual figures which influenced Benjamin's thought.
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Matthew Charles is a senior lecturer in cultural and critical theory at the University of Westminster, UK. He is the co-author of the Stanford Encyclopedia of Philosophy entry on Walter Benjamin and several articles and chapters on critical theory and education.
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Paperback. Etat : New. Widely regarded as one of the foremost cultural critics of the last century, Walter Benjamin's relation to Modernism has largely been understood in the context of his reception of the aesthetic theories of Early German Romanticism and his associated interest in avant-garde Surrealism. But this Romantic understanding only gives half the picture. Running through Benjamin's thought is also a critique of Romanticism, developed in conjunction with a positive engagement with the philosophical, artistic and historical writings of J. W. von Goethe. In demonstrating the significance of these Goethean elements, this book challenges the dominant understanding of Benjamin's philosophy as essentially Romantic and instead proposes that Goethe's Classicism, conceived as the counterpoint to Romanticism, permits a corrective to the latter's deficiencies. Benjamin's Modernist concept of criticism, it is argued, is constituted in the movement between these polarities of Romanticism and Classicism. Conversely, placing Goethe's Classicism in relation to Benjamin's practice of literary criticism reveals historical tensions with Romanticism that constitute the untimely - indeed, it will be argued, cinematic - Modernism of his work. Adopting a transcritical approach, this book alternates between Benjamin and Goethe in relation to the experiences of colour, language and technology, assembling a constellation of philosophical and artistic figures between them, including the writings of Kant, Nietzsche, Cohen, Deleuze, Koselleck, Klages, and the work of Grünewald, Marées, Klee, Turner, Hulme, Eisenstein, Tretyakov, and Murnau. N° de réf. du vendeur LU-9781350267374
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Paperback. Etat : new. Paperback. Widely regarded as one of the foremost cultural critics of the last century, Walter Benjamins relation to Modernism has largely been understood in the context of his reception of the aesthetic theories of Early German Romanticism and his associated interest in avant-garde Surrealism. But this Romantic understanding only gives half the picture. Running through Benjamins thought is also a critique of Romanticism, developed in conjunction with a positive engagement with the philosophical, artistic and historical writings of J. W. von Goethe. In demonstrating the significance of these Goethean elements, this book challenges the dominant understanding of Benjamins philosophy as essentially Romantic and instead proposes that Goethes Classicism, conceived as the counterpoint to Romanticism, permits a corrective to the latters deficiencies. Benjamins Modernist concept of criticism, it is argued, is constituted in the movement between these polarities of Romanticism and Classicism. Conversely, placing Goethes Classicism in relation to Benjamins practice of literary criticism reveals historical tensions with Romanticism that constitute the untimely indeed, it will be argued, cinematic Modernism of his work. Adopting a transcritical approach, this book alternates between Benjamin and Goethe in relation to the experiences of colour, language and technology, assembling a constellation of philosophical and artistic figures between them, including the writings of Kant, Nietzsche, Cohen, Deleuze, Koselleck, Klages, and the work of Gruenewald, Marees, Klee, Turner, Hulme, Eisenstein, Tretyakov, and Murnau. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781350267374
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