By Gerhard Richter
Gerhard Richter's groundbreaking research argues that the idea that of "afterness" is a key determine within the idea and aesthetics of modernity. It pursues questions similar to: What does it suggest for whatever to "follow" whatever else? Does that which follows mark a transparent holiday with what got here ahead of it, or does it in truth tacitly perpetuate its predecessor due to 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 circulate of following into movement had occurred?
The booklet explores the concept that and move of afterness as a privileged but uncanny classification via shut readings of writers corresponding to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It exhibits how the vexed ideas of afterness, following, and coming after shed new gentle on a constellation of recent 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 variety of analyses—across a heterogeneous number of sleek writers and thinkers, varied old moments of articulation, and various media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered via the 'after.'" As Richter's elaborate learn demonstrates, a lot hinges on our interpretation of the "after." finally, our so much basic assumptions bearing on sleek aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
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Additional resources for Afterness: Figures of Following in Modern Thought and Aesthetics
It has now become a commonplace feature in novel-writing. The Century’s Greatest Listener … Although “stream of consciousness” – a phrase coined by the psychologist William James (1842–1910) – is a technique commonly ascribed to novel-writing, other art forms adopted the psychoanalytic perspective. Sergei Eisenstein (1898–1948), the Russian film-maker, discussed with James Joyce the possibility of working on a cinema project. IT WOULD HAVE BEEN “AN INNER FILM MONOLOGUE” BASED ON THEODORE DREISER’S (1871–1945).
What is the Difference between Modernism and Modernity? The first and simplest way to define modernity and distinguish it from modernism is in terms of new technologies – on a mass scale for mass consumption. Modernity in real terms means new modes of transport (the automobile, bus, aeroplane, tractor and underground train); new media (film, photography, the X-ray, telephone, typewriter, tape recorder); new materials (reinforced concrete, steel, plate glass, ready-mixed oil paint, plastic, dyes and man-made fibres); new sources of power and energy (oil and petroleum, electricity, the internal combustion engine, diesel engine and steam turbine).
Modernism isn’t simply a knee-jerk reaction to modernity. It doesn’t simply reflect, but also sets itself against, modernity. MODERNISM CAN BE SEEN AS A COMPLEX AND SOMETIMES CONTRADICTORY SET OF RESPONSES TO THE FORCES OF MODERNITY. MODERNISM IS CONTRADICTORY BECAUSE IT SEEMS AT THE SAME TIME ABLE TO CELEBRATE, RESIST AND EVEN REJECT MODERNITY. For the moment we shall look at some examples of how modernity was taken up in a positive manner. What is striking about the great modernists is not just a confidence in their own abilities, in their “genius”, but in the capacity of their work to be innovative and progressive.