Andreas Huyssen Knihy

Peter Sloterdijk je jedným z najznámejších a zároveň najkontroverznejších nemeckých filozofov súčasnosti. Túto charakteristiku potvrdzuje už jeho prvé veľké dielo Die Kritik der zynischen Vernunft (Kritika cynického rozumu, 1983, v ktorom sa originálnym spôsobom vyrovnáva s dedičstvom skeptického racionalizmu Frankfurtskej školy. Základom jeho úvah je neradostná diagnóza intelektuálnych a kultúrnych pomerov v západnom Nemecku po krachu revolučných očakávaní v roku 1968. Tie podľa Sloterdijka vystriedal cynizmus definovaný ako „osvietené falošné vedomie“ či postoj ľudí, ktorí „už vedia, čo robia“. Východisko z tejto situácie nachádza nemecký filozof v návrate k antickému kynizmu ako alternatíve „lepšieho“, v antropologickom zmysle integrálneho rozumu, teda základného predpokladu zmyslupného a aktívneho života. Dialektické napätie medzi oboma pojmami, ktoré sa na prvý pohľad líšia len etymologickým posunom medzi samohláskami c a k, považuje Sloterdijk za paradigmu kultúrnych dejín Západu. Nadčasovosť a myšlienkovú provokatívnosť tejto knihy podčiarkuje autorov neformálny štýl kombinujúci – často až „nižší“ – polemický žáner s literárnou esejou, vďaka čomu sa kniha stala populárnou aj mimo vedeckých kruhov. Akiste ani dnes nezaškodí pouvažovať o cynizme - jeho kultúrnej histórii a dialektickej podstate. V slovenskom preklade Miloslava Szabóa vychádza toto významné filozofické dielo prvý raz.

The study of Austrian and German modernist literature has a long and venerable history in this country. There have been no attempts yet, however, to reassess German and Austrian literary modernism in light of current discussion of modernity and postmodernity. Addressing a set of historical and theoretical questions central to current reevaluations of modernism, this volume presents American readers with a state-of-the-art account of German modernism studies in the eighties. Essays by Jochen Schulte-Sasse, Russell A. Berman, Peter Uwe Hohendahl, Judith Ryan, Mark Anderson, Klaus R. Scherpe, Biddy Martin, Klaus L. Berghahn and Acbar Abbas, center around German and Austrian literary and philosophical prose of the early twentieth century. texts by well-known authors -Kafka, Rilke, Musil, Doblin, Benjamin, Benn, and Junger - and less well-known ones -Franz Jung, Carl Einstein, Ernst Bloch, Lou Andreas-Salome, are examined. Particular attention is paid to the processes and strategies by which certain experiences of "modern life" are translated into modern aesthetic forms. The unique contribution of this volume is that it combines theory with an attempt to reintroduce an historical and contextual dimension. The authors believe that their revisions of Ausrian and German modernism will themselves be informed by a new set of questions pertinent to the modernist debate.

"One of the most comprehensive and intelligent postmodern critics of art and literature, Huyssen collects here a series of his essays on pomo . . . " —Village Voice Literary Supplement " . . . his work remains alert to the problematic relationship obtaining between marxisms and poststructuralisms." —American Literary History " . . . challenging and astute." —World Literature Today "Huyssen's level-headed account of this controversial constellation of critical voices brings welcome clarification to today's murky haze of cultural discussion and proves definitively that commentary from the tradition of the German Left has an indispensable role to play in contemporary criticism." —The German Quarterly " . . . we will certainly have, after reading this book, a deeper understanding of the forces that have led up to the present and of the possibilities still open to us." —Critical Texts " . . . a rich, multifaceted study." —The Year's Work in English Studies Huyssen argues that postmodernism cannot be regarded as a radical break with the past, as it is deeply indebted to that other trend within the culture of modernity—the historical avant-garde.

This book analyzes the relation of public memory to history, forgetting, and selective memory in three late-twentieth-century cities that have confronted major social or political traumas-Berlin, Buenos Aires, and New York. schovat popis

As we are approaching our fin de siecle, issues of time and memory haunt contemporary culture. Museums and memorials are being constructed rapidly, as if there were no tomorrow. Contemporary art and literature focuses on memory and the past, rather than claiming radical breakthroughs into some unknown future. With the recent resurgence of nationalism and issues of national identity, the political future, too, seems to fold itself back into the past rather than offering a bold vision of the 21st century. The great paradox of our fin de siecle culture is that novelity is even more associated with memory and the past rather than future expectation. But if the obsession with memory is one salient symptom in this age of a modernity grown old, then cultural and political amnesia is undoubtedly its counterpoint. Rather than blaming amnesia on television or the school, Twilight Memories argues that the danger of amnesia is inherent in the information revolution. Our obsessions withcultural memory can be read as re-representing a powerful reaction against the electronic archive and they mark a shift in the way we live structures of temporality. In this book, the media are the hidden veil through which the author looks at the problem of cultural memory and an emerging new sensibility of temporality in literature, art, politics, media theory and the museum.

Memory Art in the Contemporary World deals with the ever-expanding field of transnational memory art, which has emerged from a political need to come to terms with traumatic historical pasts, from the Holocaust to apartheid, colonialism, state terror and civil war. The book focuses on the work of several contemporary artists from beyond the Northern Transatlantic, including William Kentridge, Vivan Sundaram, Doris Salcedo, Nalini Malani and Guillermo Kuitca, all of whom reflect on historical situations specific to their own countries but in work which has been shown to have a transnational reach. Andreas Huyssen considers their dual investment in memories of state violence and memories of modernism as central to the affective power of their work. This thought-provoking and highly relevant book reflects on the various forms and critical potential of memory art in a contemporary world which both obsesses about the past, in the building of monuments and museums and an emphasis on retro and nostalgia in popular culture, and simultaneously fosters historical amnesia in increasingly flattened notions of temporality encouraged by the internet and social media.

Andreas Huyssen explores the history and theory of metropolitan miniatures-- short prose pieces about urban life written for European newspapers. His fine- grained readings open vistas into German critical theory and the visual arts, revealing the miniature to be one of the few genuinely innovative modes of spatialized writing created by modernism.

"Die knappen Überblicksdarstellungen zu den einzelnen Epochen und zu den jeweiligen Gattungskapiteln, die zahlreichen Verständnishilfen, die kurzen Angaben zu Autoren und ihren Werken, die Listen mit weiterführender Primär- und Forschungsliteratur sowie die vorzüglichen synoptischen Zeittafeln ... ermöglichen in ihrem planvollen Zusammenwirken dem Benutzer dieses Werkes einen vorbildlich gebahnten Zugang zur Literatur."'Radio Bremen'

Das Bewußtsein, daß Realität reproduzierbar und austauschbar, daß sogar der Untergang herstellbar geworden ist, kennzeichnet einen kulturellen Wandel, der im Reizwort ´Posthistorie oder ´Postmoderne´ seinen Ausdruck findet. Gegen die Fetischisierung der Postmoderne erkundet dieser Band die Wirksamkeit des Begriffs in den Bereichen Architektur, Film, Literatur und Literaturkritik, wie auch seine Beziehung zum Feminismus, zur ästhetischen Theorie und zum Poststrukturalismus. Zur Verständigung über die um kulturellen, politischen und nationalen Zusammenhang sehr unterschiedlichen Bedeutungen des Postmodernen wurden grundlegende Artikel aus den USA, dem Exportlang des neuen Superlativs, ausgewählt. Weitere Autoren aus Frankreich, England und der Bundesrepublik stellen insbesondere das Verhältnis von Moderne und Postmoderne in den Künsten und in der Kunsttheorie zur Diskussion.