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Fifty years after his death, Walter Benjamin remains one of the great cultural critics of this century. Despite his renown, however, Benjamin's philosophical ideas remain elusive--often considered a disaggregated set of thoughts not meant to cohere. This book provides a more systematic perspective on Benjamin, laying claim to his status as a philosopher and situating his work in the context of its time. Exploring Benjamin's theory of language, spoken and nonspoken, Rainer Rochlitz shows how Benjamin reconceptualized traditional ideas of language, art, and history. Offering an expansive assessment of a unique twentieth-century thinker, this volume provides an indispensable guide for readers of Benjamin's recently released collected works.
Kosky focuses on a handful of artists - Walter De Maria, Diller + Scofidio, James Turrell, and Andy Goldsworthy - to show how they introduce spaces hospitable to mystery and wonder, redemption and revelation, and transcendence and creation.
A great many theorists have argued that the defining feature of modernity is that people no longer believe in spirits, myths, or magic. Jason Ā. Josephson-Storm argues that as broad cultural history goes, this narrative is wrong, as attempts to suppress magic have failed more often than they have succeeded. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. Ironically, the myth of mythless modernity formed at the very time that Britain, France, and Germany were in the midst of occult and spiritualist revivals. Indeed, Josephson-Storm argues, these disciplines’ founding figures were not only aware of, but profoundly enmeshed in, the occult milieu; and it was specifically in response to this burgeoning culture of spirits and magic that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.
Leads scholars and anyone who cares about the humanities into more effectively analyzing the fate of the humanities and digging into the very idea of the humanities as a way to find meaning and coherence in the world. The humanities, considered by many as irrelevant for modern careers and hopelessly devoid of funding, seem to be in a perpetual state of crisis, at the mercy of modernizing and technological forces that are driving universities towards academic pursuits that pull in grant money and direct students to lucrative careers. But as Paul Reitter and Chad Wellmon show, this crisis isn’t new—in fact, it’s as old as the humanities themselves. Today’s humanities scholars experience and react to basic pressures in ways that are strikingly similar to their nineteenth-century German counterparts. The humanities came into their own as scholars framed their work as a unique resource for resolving crises of meaning and value that threatened other cultural or social goods. The self-understanding of the modern humanities didn’t merely take shape in response to a perceived crisis; it also made crisis a core part of its project. Through this critical, historical perspective, Permanent Crisis can take scholars and anyone who cares about the humanities beyond the usual scolding, exhorting, and hand-wringing into clearer, more effective thinking about the fate of the humanities. Building on ideas from Max Weber and Friedrich Nietzsche to Helen Small and Danielle Allen, Reitter and Wellmon dig into the very idea of the humanities as a way to find meaning and coherence in the world. ,
This text reinterprets the modern West's development in terms of mankind's relationship to religion. It argues that the development of human political and psychological autonomy must be understood against the growth of the concept of divine power and its increasing distance from human activity.
This book is the first full-length study of the ongoing debate over the status of our "disenchanted" world—a world stripped of mysterious and supernatural forces by the demythologizing power of reason and modern science. It draws together for the first time the writings of various theorists on this theme, such as Georg Lukacs, Theodor Adorno, and Jürgen Habermas, providing a coherent overview of an evolving dialogue, as well as Germain's own evaluation of the disenchantment problematic.
This book is an examination of nineteenth-century interpretations of Socrates by Hegel, Kierkegaard, and Nietzsche in the light of the contemporary debates over rationality in the modern world. These interpretations of Socrates have fundamentally influenced modern and postmodern thought, and their complexity reflects both an attraction to, and a fear of, the peculiarly modern concept of reason that Socrates is read as embodying. Socrates is seen in this book as an emblematic figure through which the constitutive tensions between enlightenment and romanticism in modern thought can be understood. In the concluding chapter, Harrison analyzes the claims of discursive reason versus those of deconstruction in the postmodern conflict over the figure of Socrates.
In the twentieth century, avant-garde movements have pushed the concept of art far beyond its traditional boundaries. In this dynamical process of constant renewal the prestige of thinking about art as a legitimizing practice has come to the fore. So it is hardly surprising that the past decades have been characterized by a revival or even breakthrough of philosophy of art as a discipline. However, the majority of books on aesthetics fail to combine a systematical philosophical discourse with a real exploration of art practice. Thinking Art attempts to deal with this traditional shortcoming. It is indeed not only an easily accessible and systematic account of the classical, modern and postmodern theories of art, but also concludes each chapter with an artist’s studio in which the practical relevance of the discussed theory is amply demonstrated by concrete examples. Moreover, each chapter ends with a section on further reading, in which all relevant literature is discussed in detail. Thinking Art provides its readers with a theoretical framework that can be used to think about art from a variety of perspectives. More particularly it shows how a fruitful cross-fertilization between theory and practice can be created. This book can be used as a handbook within departments of philosophy, history of art, media and cultural studies, cultural history and, of course, within art academies. Though the book explores theories of art from Plato to Derrida it does not presuppose any acquaintance with philosophy from its readers. It can thus be read also by artists, art critics, museum directors and anyone interested in the meaning of art.
The question of modernity has provoked a vigorous debate in the work of thinkers from Hegel to Habermas. Anthony J. Cascardi offers an historical account of the origins and transformations of the rational subject of self as it is represented in Descartes, Cervantes, Pascal, Hobbes and the Don Juan myth.
This is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Relating themes in the history of European philosophy to topics in contemporary philosophy, Gordon Graham investigates the idea that art has the potential to re-enchant an irreligious world.