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In this monograph Paul Crowther seeks to overcome some of the antagonistic positions taken in recent debates about postmodernism. He addresses such issues as the relation between art and politics, artistic creativity, and sublimity and the postmodern sensibility. His analysis of these themes centres on the interplay between what is constant and what is historically variable in human experience.
Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dalí's The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancière, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy.
A Return to Aesthetics confronts postmodernism's rejection of aesthetics by showing that this critique rests on central concepts of classical aesthetic theory, namely autonomous form, disinterest, and symbolic discourse. The author argues for the value of these concepts by recovering them through a historical reinterpretation of their meaning prior to their distortion by twentieth-century formalism. Loesberg then applies these concepts to a discussion of two of the most significant critics of the ideology of Enlightenment, Foucault and Bourdieu. He argues that understanding the role of aesthetics in the postmodern critique of Enlightenment will get us out of the intellectual impasse wherein numbingly repeated attacks upon postmodernism as self-contradictory match numbingly repeated defenses. Construing postmodern critiques as examples of aesthetic reseeing gives us a new understanding of the postmodern critique of the Enlightenment.
This comprehensive anthology provides a collection of classic and contemporary readings in continental aesthetics. Spanning Romanticism through Modernism to Postmodernism, the volume includes landmark texts that have sparked renewed interest in aesthetics, including works by Schiller, Kant, Nietzsche, Hegel, Heidegger, Sartre, Luk?cs, Habermas, Foucault, Kristeva, and Derrida.
British Pop Art was seen as an integral, even central, part of social change in the Sixties. It was a movement that developed innovative ways of dealing with reality, both reflecting on and participating in the culture. Its aesthetics was often homogeneous with the industrial, with the mass-produced, and, hence, with the artificial, manufactured character of the urban environment. This discontinuity in the traditional approach towards artistic creation furthered the globalization of diversity, which constitutes the abiding concerns of postmodern art. Drawing from postmodern thought and cultural analysis, this book critically examines British Pop Art within the broad interdisciplinary domain of the social and cultural changes that led to flexibility in conceptualization, and provides a contribution to the artistic processes which form and deform the cultural sphere, confirming its relevance to current debates in which questions of postmodern aesthetics prominently figure.
In this timely new book Wellmer intervenes in the highly topical debates on modernity and post-modernity. Discussing the work of Adorno, Habermas, Peter Burger and Jean-François Lyotard, among others, he offers a penetrating analysis of the aesthetic, ethical and philosophical dimensions of the modern era. In opposition to those who view post-modernity as a sign of post-enlightenment, Wellmer makes a reasoned plea for a re-examination of the goals of emancipatory Enlightenment and explores its implications for the appreciation of modern art forms.
First published in 1998, this work identifies the possibilities, concepts, needs and strategies for radical reform of traditional art education by resituating it within the postmodern paradigm. It advocates continued research to inform theory and practice in art education, providing detailed summaries of new methodologies, such as semiotics and deconstruction. It is clearly sectioned and easy to use which provides an ideal foundation for postmodern art education.
Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy (From Enowning), this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art.
In all the arts a war is being waged between modernists and postmodernists. Radicals have tended to side with the modernists against the forces of conservatism. Postmodern Culture is a break with this tendency. Its contributors propose a postmodernism of resistance - an aesthetic that rejects hierarchy and celebrates diversity. Ranging from architecture, sculpture and painting to music, photography and film, this collection is now recognised as a seminal text on the postmodernism debate.The essays are by Hal Foster, Jürgen Habermas, Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, Jean Baudrillard, and Edward W. Said.
Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.