By Christine Buci-Glucksmann
During this interesting e-book, Christine Buci-Glucksmann explores the situation of modernity - alienation, depression, nostalgia - throughout the works of a few writers and philosophers, together with the social and aesthetic philosophy of Walter Benjamin. the writer examines Baudelaire's haunting photo of the town and its profound impression on conceptions of modernity. She is going directly to give some thought to how such influential figures as Nietzsche, Adorno, Musil, Barthes and Lacan represent a baroque paradigm, united via their allegorical sort, their conflation of aesthetics with ethics and their subject material - loss of life, disaster, sexuality, delusion, the feminine. In her exegesis of those primary topics Buci-Glucksmann proposes an epistemology
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Extra resources for Baroque Reason: The Aesthetics of Modernity
Mannheim, K. (1991) Ideology and Utopia: An Introduction to the Sociology of Knowledge. London: Routledge. A. (1986) Culture of Baroque: Analysis of a Historical Structure. London: Macmillan. 36 I NTRODUGION Megill, A. (1985) Prophets of Extremity. Nietzsche, Heidegger, Foucault, Derrida. Berkeley: University of California Press. Niethammer, L (1992) Posthistoire: Has History Come to an End? London: Verso. Nietzsche, F. (1993) The Birth of Tragedy. Harmondsworth: Penguin . Parsons, T. ( 1 99 1 ) The Social System.
As Benjamin puts it: 'The " Urgeschichte" of the nineteenth century would be of no interest if it was not understood in such a way that primal historical forms could be found at the root of the nineteenth century. m Such forms are not prior to history in the sense of epistemes; nor are they ideological reflections of an economic base, as they appear in a certain Marxist topography that Benjamin considered to be nominalist and mechanistic. Rather, they are imaginary expressions (Ausdruck), at once semantic and visual, of the rebus-scenes or 'dialectical images' that accompany all social processes.
Every angel is te"ible [schrecklich). Rainer Maria Rilke, Duino Elegies A Klee painting named 'Angelus Novus' shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angerof history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet.