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The first volume of Benjamin Studies publishes the keynote lectures of the first Congress of the International Walter Benjamin Association, which took place in Amsterdam, July 1997. Its title bears witness to the most central concepts of Benjamin’s philosophy of culture. Strongly influenced as he was by Kant, Benjamin never lost his inclination to analyse the components of reality as fashioned by ourselves. Because he was also a materialist, for him the modes of fashioning were shaped in turn by the times and places we occupy in history. As a consequence, Benjamin’s theory assigns a pivotal role in the interaction between the world and its inhabitants to the media: language with its plethora of discourses, the arts, and the whole technology of reproduction. The historical and social development of the media is, translated, according to him, into our instruments of perception, and this perception constructs the elements of the world, the knowledge of this construction and the knowledge of the constructor. The self-knowledge of the constructor is what we call ‘experience’. Within this broad epistemological framework, the diversity and complexity of Benjamin’s project acquires a fundamental coherence and is therefore able to accommodate the temporal volatility of the phenomena of our world. It’s not surprising, therefore, that Perception & Experience offers the most stimulating variety of topics, and that the keynote lectures reflect merely an intensification of interest in certain areas within a much larger field of investigation. The texts presented here pinpoint the central preoccupations of today’s debates amongst Benjamin scholars, preoccupations which are themselves responses to our own historical imperatives.
Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. Suspensions of Perception is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters—Manet, Seurat, and Cezanne—who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
Value in Modernity examines a historical paradigm in ethics that has hitherto not been identified as such: existential modernism. Peter Poellner discusses the central claims of this paradigm through detailed examination of the thought of four of its main exponents: Friedrich Nietzsche, Max Scheler, Jean-Paul Sartre, and Robert Musil. In the case of Nietzsche and Sartre, Poellner offers novel interpretations, reconstructing lines of thought in their work that have usually been neglected. He also offers a new assessment of Scheler's subtle phenomenological version of affective value intuitionism, which is a crucial influence on Sartre's existentialism but has so far enjoyed virtually no reception in an anglophone context. Musil's philosophical novel The Man without Qualities is interpreted as contributing a highly original version of ethical perfectionism to the existential modernist paradigm. While Musil's thought on emotions and moods has begun to receive philosophical recognition in recent years, the significance of the philosophical core of his seminal work has so far not been fully appreciated. In Poellner's interpretation, what we find in the existential modernists is an approach in ethical philosophy that combines a qualified form of affective value intuitionism and a kind of ethical perfectionism. This book reconstructs and defends a version of this approach that integrates elements drawn from each of these thinkers, supplemented by an original elaboration of ideas only implicit in some of them.
What has happened to regional experiences that identify and shape culture? Regional foods are disappearing, cultures are dissolving, and homogeneity is spreading. Anthropologist and award-winning author of The Last Word: Women, Death, and Divination in Inner Mani, C. Nadia Seremetakis brings together essays by five scholars concerned with the senses and the anthropology of everyday life. Covering a wide range of topics—from film to food, from nationalism to the evening news—the authors describe ways in which sensory memories have preserved cultures otherwise threatened by urbanism and modernity. The contributors are Susan Buck-Morss, Allen Feldman, Jonas Frykman, C. Nadia Seremetakis, and Paul Stoller. C. Nadia Seremetakis is Advisor to the Minister of Public Health in Greece and visiting professor at the National School of Public Heath in Athens. She is the author of The Last Word: Women, Death, and Divination in Inner Mani, available from the University of Chicago Press.
This volume is the first-ever collection of essays devoted to the Lurianic concept of tsimtsum. It contains eighteen studies in philosophy, theology, and intellectual history, which demonstrate the historical development of this notion and its evolving meaning: from the Hebrew Bible and the classical midrashic collections, through Kabbalah, Isaac Luria himself and his disciples, up to modernity (ranging from Spinoza, Böhme, Leibniz, Newton, Schelling, and Hegel to Scholem, Rosenzweig, Heidegger, Benjamin, Adorno, Horkheimer, Levinas, Jonas, Moltmann, and Derrida).
Kracauer. Film, medium of a disintegrating world. -- Curious Americanism. -- Benjamin. Actuality, antinomies. -- Aura: the appropriation of a concept. -- Mistaking the moon for a ball. -- Micky-maus. -- Room-for-play. -- Adorno. The question of film aesthetics. -- Kracauer in exile. Theory of film.
Examines the postmodern implications of Whitehead’s metaphysical system.
This book provides an important new answer to the much-discussed question of the nature and possibility of philosophy following the collapse of the modern foundationalist paradigm. Mensch offers an alternative based in phenomenology. Using Husserl's analysis of temporality to reinvigorate Aristotle's account of time, he shows how the passing of modernity is actually an opening for doing metaphysics in a new nonfoundationalist manner. Positioning Husserl within a wider context, Mensch views him both as a culmination of the modern foundationalist paradigm and as providing a way to overcome it through his descriptive analyses.
Essays examining the relationships between culture, film, and the audience around the turn of the twentieth century. The current digital revolution has sparked a renewed interest in the origins and trajectory of modern media, particularly in the years around 1900 when the technology was rapidly developing. This collection aims to broaden our understanding of early cinema as a significant innovation in media history. Joining traditional scholarship with fresh insights from a variety of disciplines, this book explains the aesthetic and institutional characteristics in early cinema within the context of the contemporary media landscape. It also addresses transcultural developments such as scientific revolutions, industrialization, urbanization, and globalization, as well as differing attitudes toward modernization. Film 1900 is an important reassessment of early cinema’s position in cultural history. “The capable Ligensa and Kreimeier invited a coterie of renowned Continental scholars and thinkers to reflect on issues of modernity and cinema by harking back to the fin de siècle. . . . Summing Up: Highly recommended. Graduate students, researchers, faculty.” —T. Lindval, Choice
No other single author has so commanding a critical presence across so many disciplines within the arts and humanities, in so many national contexts, as Walter Benjamin (1892-1940). The belated reception of his work as a literary critic (dating from the late 1950s) has been followed by a rapid series of critical receptions in different contexts: Frankfurt Critical Theory and Marxism, Judaism, Film Theory, Post-structuralism, Philosophical Romanticism, and Cultural Studies.This collection brings together a selection of the most critically important items in the literature, across the full range of Benjamin's cultural-theoretical interests, from all periods of the reception of his writings, but focusing upon the most recent, to produce a comprehensive overview of the best critical literature.