The Man Without Content (Meridian 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024


The Man Without Content (Meridian

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Giorgio Agamben 作者
Stanford University Press
Georgia Albert 译者
1999-6-1 出版日期
148 页数
GBP 16.99 价格
Paperback
丛书系列
9780804735544 图书编码

The Man Without Content (Meridian 在线电子书 图书标签: 阿甘本  艺术  GiorgioAgamben  Philosophy  艺术评论  Aesthetics  黑格尔  西方美学史   


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发表于2024-11-21


The Man Without Content (Meridian 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

The Man Without Content (Meridian 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

The Man Without Content (Meridian 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024



The Man Without Content (Meridian 在线电子书 用户评价

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半懂。准备再读。

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cannot say it's exceptional, to look at modern/contemporary art in modern aesthetic paradigm might be a bit self-defeating, but the tracing of the conception and concepts of modern aesthetics from Greek philosophy to 19 C society is helpful.

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poiesis的丧失

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读了三四天才读完,可见自己不专心读书了。天天也不知道都干些啥,肉是净长了不少啊。。。

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poiesis的丧失

The Man Without Content (Meridian 在线电子书 著者简介


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The Man Without Content (Meridian 在线电子书 图书描述

In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms--between artist and spectator, genius and taste, and form and matter, for example--that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Durer's "Melancholia" in the terms that the book has articulated as its own. "The Man Without Content" will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience--those involved with art, art history, the history of aesthetics, and popular culture.

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