The Aesthetics Of Self Invention
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| Author | : Joanne Finkelstein |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 263 |
| Release | : 2007-10-24 |
| Genre | : Art |
| ISBN | : 0857710605 |
Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanour, 'personality' and personal style. Drawing on historical commentators from Castiglione to Machiavelli, and from Marcel Mauss to Roland Barthes, Joanne Finkelstein looks to popular visual culture, including Hollywood film and makeover TV, to show how it provides blueprints for the successful construction of 'persona'. She also discusses the role of fashion and of status symbols and how advertising sells these to us in our never ending quest for social mobility. Finkelstein's interest here is not in the veracity of the self - recently dissected by critical theory - but rather in the ways in which we style this 'self', in the enduring appeal of the 'new you' and in our fascination with deception, fraudulent personalities and impostors.
| Author | : |
| Publisher | : |
| Total Pages | : 203 |
| Release | : 2004 |
| Genre | : Aesthetics, British |
| ISBN | : 9781452935256 |
| Author | : Andrew Spira |
| Publisher | : Bloomsbury Academic |
| Total Pages | : 425 |
| Release | : 2020-07-23 |
| Genre | : Philosophy |
| ISBN | : 1350091057 |
This book is an examination of personal identity, exploring both who we think we are, and how we construct the sense of ourselves through art. It proposes that the notion of personal identity is a psycho-social construction that has evolved over many centuries. While this idea has been widely discussed in recent years, Andrew Spira approaches it from a completely new point of view. Rather than relying on the thinking subject's attempts to identify itself consciously and verbally, it focuses on the traces that the self-sense has unconsciously left in the fabric of its environment in the form of non-verbal cultural conventions. Covering a millennium of western European cultural history, it amounts to an 'anthropology of personal identity in the West'. Following a broadly chronological path, Spira traces the self-sense from its emergence from the collectivity of the medieval Church to its consummation in the individualistic concept of artistic genius in the nineteenth century. In doing so, it aims to bridge a gap that exists between cultural history and philosophy. Regarding cultural history (especially art history), it elicits significances from its material that have been thoroughly overlooked. Regarding philosophy, it highlights the crucial role that material culture plays in the formation of philosophical ideas. It argues that the sense of personal self is as much revealed by cultural conventions - and as a cultural convention - as it is observable to the mind as an object of philosophical enquiry.
| Author | : Peter Sloterdijk |
| Publisher | : John Wiley & Sons |
| Total Pages | : 344 |
| Release | : 2018-03-15 |
| Genre | : Philosophy |
| ISBN | : 074569988X |
In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.
| Author | : Andreas Reckwitz |
| Publisher | : John Wiley & Sons |
| Total Pages | : 300 |
| Release | : 2017-05-30 |
| Genre | : Social Science |
| ISBN | : 0745697070 |
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
| Author | : Luc Ferry |
| Publisher | : University of Chicago Press |
| Total Pages | : 300 |
| Release | : 1993 |
| Genre | : Philosophy |
| ISBN | : 9780226244594 |
Can subjective, individual taste be reconciled with an objective, universal standard? In Homo Aestheticus, Luc Ferry argues that this central problem of aesthetic theory is fundamentally related to the political problem of democratic individualism. Ferry's treatise begins in the mid-1600s with the simultaneous invention of the notions of taste (the essence of art as subjective pleasure) and modern democracy (the idea of the State as a consensus among individuals). He explores the differences between subjectivity and individuality by examining aesthetic theory as developed first by Kant's predecessors and then by Kant, Hegel, Nietzsche, and proponents of the avant-garde. Ferry discerns two "moments" of the avant-garde aesthetic: the hyperindividualistic iconoclasm of creating something entirely new, and the hyperrealistic striving to achieve an extraordinary truth. The tension between these two, Ferry argues, preserves an essential element of the Enlightenment concern for reconciling the subjective and the objective—a problem that is at once aesthetic, ethical, and political. Rejecting postmodern proposals for either a radical break with or return to tradition, Ferry embraces a postmodernism that recasts Enlightenment notions of value as a new intersubjectivity. His original analysis of the growth and decline of the twentieth-century avant-garde movement sheds new light on the connections between aesthetics, ethics, and political theory.
| Author | : Katherine Harloe |
| Publisher | : |
| Total Pages | : 302 |
| Release | : 2013-08-29 |
| Genre | : Art |
| ISBN | : 0199695849 |
This volume provides a new perspective on the emergence of the modern study of antiquity, Altertumswissenschaft, in eighteenth-century Germany through an exploration of debates that arose over the work of the art historian Johann Joachim Winckelmann between his death in 1768 and the end of the century. Winckelmann's eloquent articulation of the cultural and aesthetic value of studying the ancient Greeks, his adumbration of a new method for studying ancient artworks, and his provision of a model of cultural-historical development in terms of a succession of period styles, influenced both the public and intra-disciplinary self-image of classics long into the twentieth century. Yet this area of Winckelmann's Nachleben has received relatively little attention compared with the proliferation of studies concerning his importance for late eighteenth-century German art and literature, for historians of sexuality, and his traditional status as a 'founder figure' within the academic disciplines of classical archaeology and the history of art. Harloe restores the figure of Winckelmann to classicists' understanding of the history of their own discipline and uses debates between important figures, such as Christian Gottlob Heyne, Friedrich August Wolf, and Johann Gottfried Herder, to cast fresh light upon the emergence of the modern paradigm of classics as Altertumswissenschaft: the multi-disciplinary, comprehensive, and historicizing study of the ancient world.
| Author | : Georges Didi-Huberman |
| Publisher | : MIT Press |
| Total Pages | : 387 |
| Release | : 2004-09-17 |
| Genre | : Psychology |
| ISBN | : 0262541807 |
The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.
| Author | : Larry E. Shiner |
| Publisher | : University of Chicago Press |
| Total Pages | : 386 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : 9780226753430 |
"Larry Shiner challenges our conventional understandings of art and asks us to reconsider its history entirely, arguing that the category of ine art is a modern invention - and that the lines drawn between art and craft emerged only as the result of key European social transformations during the long eighteenth century"--Publisher's description.
| Author | : Paul John Eakin |
| Publisher | : Princeton University Press |
| Total Pages | : 300 |
| Release | : 2014-07-14 |
| Genre | : Literary Criticism |
| ISBN | : 1400854792 |
Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
