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Althusser and Art offers a reading of Althusserianism as a meta-mediation on the question concerning the aesthetics of theory. Fardy shows that Althusserian theory is part of a larger genealogy of thought, stretching from Korsch through Laruelle, that has been primarily concerned with the search for a form of theory, an aesthetic of theorizing, capable of transcending the theory-practice dialectic.
A complete and original theory of aesthetics based on Marx and Althusser in the modernist Marxist anti-humanist tradition (Brecht, Althusser, Benjamin, Adorno). The main concepts that arise from this work are: the aesthetic level of practice, aesthetic state apparatuses, aesthetic interpellation, and pseudo dialectics, all of which are used to understand the role of aesthetic experience and its place in everyday life. - In the space long thought as necessary to fill spanning the gap between Marx and Freud, the author proposes that aesthetics can be located and defined in a concrete way. We are therefore looking at a domain involving and implicating feelings, affections, dispositions, sensibilities and sensuality, as well as their social role in art, tradition, ritual, and taboo. With the classic Marxist concepts of base and superstructure divided into levels, economic, ideological, and political, the aesthetic level of practice is the area that has traditionally been mostly either missing or mislocated and, especially perhaps, misrepresented for political reasons. The importance of this level is that it fuels and supports the media, or as Althusser described it the 'traffic' (or mediation) between base and superstructure, although for Althusser this was ideological traffic. Here, this is also defined as aesthetic. From this vantage point, we begin to be able to see aesthetic state apparatuses, analyse how they function, both in the past, historically (for example firstly in art history), and today, in the contemporary political context, to grasp the role that art and feelings, along with affective alienation, plays in our culture as a complete and, in fact, cyclical reciprocating system. ,
Author : Eve Meltzer Publisher : University of Chicago Press Page : 250 pages File Size : 47,8 Mb Release : 2013-07-02 Category : Art ISBN : 9780226007885
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.
Leading theorist and art curator Nicolas Bourriaud tackles the excluded, the disposable and the nature of waste by looking to the future of art-the exform. He argues that the great theoretical battles to come will be fought in the realms of ideology, psychoanalysis and art. A "realist" theory and practice must begin by uncovering the mechanisms that create the distinctions between the productive and unproductive, product and waste, and the included and excluded. To do this we must go back to the towering theorist of ideology Louis Althusser and examine how ideology conditions political discourse in ways that normalize cultural, racial and economic practices of exclusion.
The Politics of Aesthetics by Jacques Rancière Pdf
The Politics of Aesthetics rethinks the relationship between art and politics, reclaiming "aesthetics" from the narrow confines it is often reduced to. Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Available now in the Bloomsbury Revelations series 10 years after its original publication, The Politics of Aesthetics includes an afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.
Machiavelli and Us by François Matheron,Louis Althusser Pdf
"We do not publish our own drafts, that is, our own mistakes, but we do sometimes publish other people's," Louis Althusser once observed of Marx's early writings. Among his own posthumously released drafts, one, at least, is incontestably neither mistake nor out-take: the text of his lecture course on Machiavelli, originally delivered at the cole Normale Suprieure in 1972, intermittently revised up to the mid-1980s, and carefully prepared for publication after his death in 1990. Though only appearing as an occasional reference in the Marxist philosopher's oeuvre, Machiavelli was an unseen constant presence. For together with Spinoza and Marx, Machiavelli was a veritable Althusserian passion. Machiavelli and Us reveals why, and will be welcomed for the light it sheds on the richly complex thought of its author.
Best known for his theories of ideology and its impact on politics and culture, Louis Althusser revolutionized Marxist theory. His writing changed the face of literary and cultural studies, and continues to influence political modes of criticism such as feminism, postcolonialism and queer theory. Beginning with an introduction to the context of Marxist theory, this book goes on to explain: * how Althusser interpreted and developed Marx’s work * the political implications of reading * ideology and its significance for culture and criticism * Althusser’s aesthetic criticism of literature, theatre and art. Placing Althusser’s key ideas in the context of earlier Marxist thought, as well as tracing their development and impact, Luke Ferretter presents a wide-ranging yet accessible guide, ideal for those new to the work of this influential critical thinker.
The publication of Louis Althusser's autobiography, The Future Lasts Forever, shattered the myth of Althusser as austere structural Marxist. It not only illuminated the private life of this public thinker, but suggested that his previously published works could be read very differently. Louis Althusser is the first major overview of Althusser's work since the publication in French of thousands of pages of essays, books and letters unknown before 1990, and makes a strong case for a radical reconsideration of his work in the light of this new material. Focusing particularly on Althusser's writings on art, theatre and literature (as well as those of Althusser's collaborator, Pierre Macherey), Warren Montag traces the contradictory development of Althusser's thought from the early sixties to his autobiography. Additional material includes an annotated bibliography of texts by and on Althusser, and the book also features a previously untranslated essay by the theorist on Brecht and Marx.
Aesthetics and the Sociology of Art by Janet Wolff Pdf
First published in 1983, Aesthetics and the Sociology of Art provides a lucid account of two divergent tendencies in the study of aesthetics. At the one extreme, traditional aestheticians have assumed that art and literature are wholly independent, following only the laws and inspirations of artists and artistic movements, and that the question of aesthetic value is accordingly unproblematic. At the other extreme, some sociologists have treated works of art as no more than manifestations of the socio-economic circumstances which produce them, arguing that aesthetic value is therefore entirely relative matter. Janet Wolff shows how both the extreme positions are untenable, and argues convincingly that we must accept that the conceptions and criteria of aesthetic value are socially constructed and inevitably ideological, while stopping short of the reductionist alternative which fails to recognise the irreducible questions of pleasure and of aesthetic discourse. This book provides an invaluably clear guide both to old debates and to otherwise obscure modern controversies, which will be welcomed both by students and scholars in the sociology of art, in aesthetics, in art history, and in literary criticism.
Encyclopedia of Contemporary Literary Theory by Irene Rima Makaryk Pdf
The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.
The notion of contingency plays a central role in Althusser’s attempt to recast Marxist philosophy and to free the Marxist conception of history from notions such as teleology, necessity and origin. Drawing on a wealth of published and unpublished material, Stefano Pippa discusses how Althusser’s unfaltering commitment to contingency should encourage us to revisit our understanding of his conceptions of structural change, ideology, politics and materialism. As grounded on contingency, Althusser’s so-called ‘Structural Marxism’ originates in fact a ‘logic of interruption’ and a notion of structurally under-determined becoming; just like his theory of ideology is radically reinterpreted on the basis of his notion of ‘overinterpellation’. Though constant, Althusser’s relationship with contingency has not been monolithic throughout his career. As observed by Pippa, it is possible to distinguish a ‘political’ and a ‘philosophical’ moment in Althusser’s late materialism of contingency. Perhaps, as this volume suggests, the problematic coexistence of these two aspects might account for the unstable character of Althusser’s late philosophical project.
An Introduction to the Philosophy of Art by Richard Eldridge Pdf
Richard Eldridge presents a clear and compact survey of philosophical theories of the nature and significance of art. Drawing on materials from classical and contemporary philosophy as well as from literary theory and art criticism, he explores the representational, expressive, and formal dimensions of art, and he argues that works of art present their subject matter in ways that are of enduring cognitive, moral, and social interest. His accessible study will be invaluable to students and to all readers who are interested in the relation between thought and art.
The Winchester Guide to Keywords and Concepts for International Students in Art, Media and Design by Annie Makhoul,Simon Morley Pdf
This welcome new resource for international students in art, design, and media provides clear explanations of the terminology they must master in order to fulfill their academic potential and enrich their professional careers. Offers a much-requested new resource that fills a gap in the academic market Tailored specifically to the needs of international students in art, design, and media Color-coded key words and phrases for quick reference Includes sections on study skills, academic expectations in Western institutions, methodologies, and important theorists An ideal handbook for curators and gallery staff everywhere for whom English is a non-native language