Andreas Huyssen Livres

La Critique de la raison cynique - son occasion : le bicentenaire de la parution de la Critique de la raison pure de Kant - est une critique de notre modernité. Revenue des illusions de notre rationalisme (" la raison c'est la torture "), notre époque est ébranlée par la croyance en l'Aufklärung : la conviction que le mal résulte de l'ignorance et qu'il suffit de savoir pour le guérir. Le cynisme est la réponse à cette désillusion. Il est la forme moderne de la " fausse conscience ". Apparu comme attitude individuelle dès l'antiquité, le cynisme est aujourd'hui un phénomène universel. En regard de ce cynisme moderne comme remède et comme dépassement, l'auteur suggère de redécouvrir les vertus du cynisme antique (ou, plus exactement, du Kunisme) que pratiquait le philosophe de Sinope : le rire, l'invective, les attaques. Leur redécouverte pourrait renouveler la chance de l'Aufklärung dont le projet le plus intime est de transformer l'être (Sein) par l'être conscient (Bewusstsein). Paru en Allemagne en 1983, cet essai rencontra un succès considérable. Jürgen Habermas salua sa publication comme un des événements les plus importants de la vie intellectuelle depuis 1945. L'ironie de l'histoire fait que ce même Habermas est, en 1999, l'objet de vives attaques de Peter Sloterdijk, et que leur controverse semble devoir marquer la scène intellectuelle européenne pour les premières années du prochain millénaire.

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'