ISBN: 9780804735544 - The Man Without Content (meridian: Crossing Aesthetics) (37 results)

Softcover. Condition: Near Fine Condition. Size: Octavo (8vo). Text is clean and unmarked. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Philosophy; ISBN: 0804735549. ISBN/EAN: 9780804735544. Inventory No: 048172.

Condition: acceptable. Book is considered to be in acceptable condition. The actual cover image may not match the stock photo. Book may have one or more of the following defects: noticeable wear on the cover dust jacket or spine; curved, dog eared or creased page s ; writing or highlighting inside or on the edges; sticker s or other adhesive on cover; CD DVD may not be included; and book may be a former library copy.…

Condition: As New. CONDITION NOTES: SYNOPSIS: In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms--between artist and spectator, genius and taste, and form and matter, for example--that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own. The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience--those involved with art, art history, the history of aesthetics, and popular culture.…

Condition: New.

Paperback or Softback. Condition: New. The Man Without Content. Book.

Paperback. Condition: New. In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms-between artist and spectator, genius and taste, and form and matter, for example-that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own. The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience-those involved with art, art history, the history of aesthetics, and popular culture.…

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: Fair. A readable copy of the book which may include some defects such as highlighting and notes. Cover and pages may be creased and show discolouration.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

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Paperback. Condition: New. In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms-between artist and spectator, genius and taste, and form and matter, for example-that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own. The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience-those involved with art, art history, the history of aesthetics, and popular culture.…

Condition: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Paperback. Condition: new. Paperback. In this book, one of Italy s most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel s claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the death of art (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a self-annulling mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms between artist and spectator, genius and taste, and form and matter, for example that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Agamben considers the status of art in the modern era. He argues that Hegel did not proclaim the 'death of art' but rather the indefinite continuation of art in a 'self-annulling' mode. Analysing that self-annulment, he offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: new.

Paperback. Condition: Brand New. 1st edition. 130 pages. 8.75x5.75x0.50 inches. In Stock.

Condition: New. pp. 144.

Condition: New. This work considers the status of art in the modern era. It takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. Translator(s): Albert, Georgia. Series: Meridian: Crossing Aesthetics. Num Pages: 144 pages. BIC Classification: HPCF; HPN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 140 x 215 x 10. Weight in Grams: 192. . 1999. Paperback. . . . .…

Condition: New. In English.

Paperback. Condition: Brand New. 1st edition. 130 pages. 8.75x5.75x0.50 inches. In Stock.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. pp. 144.

Condition: New.

Paperback. Condition: Used; Very Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Condition: New. pp. 144.

Condition: New. This work considers the status of art in the modern era. It takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. Translator(s): Albert, Georgia. Series: Meridian: Crossing Aesthetics. Num Pages: 144 pages. BIC Classification: HPCF; HPN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 140 x 215 x 10. Weight in Grams: 192. . 1999. Paperback. . . . . Books ship from the US and Ireland.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms-between artist and spectator, genius and taste, and form and matter, for example-that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own. The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience-those involved with art, art history, the history of aesthetics, and popular culture.…

Condition: NEW.