By John Rundell
Aesthetics and Modernity brings jointly Agnes Heller's latest essays round the issues of aesthetic genres resembling portray, song, literature and comedy, aesthetic reception, and embodiment. The essays draw on Heller's deep appreciation of aesthetics in all its kinds from the classical to the Renaissance and the modern sessions. Heller's contemporary paintings on aesthetics explores the advanced and fraught prestige of works of art in the context of the heritage of modernity. For Heller, not just does the relation among aesthetics and modernity must be checked out anew, but additionally the way those phrases are conceptualized, and this is often the two-fold activity that she units for herself in those essays. She engages this activity with a severe attractiveness of modernity's pitfalls. This assortment highlights those pitfalls within the context of continuous chances for aesthetics and our dating with artworks, and throws gentle on Heller's concept of feelings and emotions, and her idea of modernity. Aesthetics and Modernity collects the basic essays of Agnes Heller, and is a must-read for someone attracted to Heller's significant contributions to philosophy
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Extra resources for Aesthetics and Modernity: Essays by Agnes Heller
It admits the possibility of imperfection. In this sense the work of art becomes beautiful and we delight in it, take care of it as well as our own emotional pallet. 56 In so doing we, too, can become beautiful characters. The relationship that is established between the person who contemplates a work of art and the work of art is separate from the artist or the performer. If the performer is a “star” and part of the “star” system, for example in the constellation called Hollywood, and thus reliant on fame, this reliance belongs to one of the particularisms of modernity—money and the market.
So what if there is nothing left to ground the beauty of the beautiful in the traditional sentence: 38 Chapter 2 “this is not beautiful, that is beautiful,” “this is only seemingly beautiful, something else is really, truly beautiful”? What if Disneyland is beautiful? What if the beauty queen is the truly beautiful? What if the television advertisement is the really beautiful? And after all, who cares? Similar voices can be heard from many quarters. My answer to them is that I do care. And this essay addresses those who—just like me—do care.
This new concept, as I said, must have a homogenizing power; it must cling to very specific structures, entail very specific requirements, and embody very specific kinds of things. It must embody those things which can become the homogenizing carriers of everything Beautiful. But this is only the first chapter of the story. The new concept (“this is not beautiful, but that is”) has to take the total effect into account also. Everything that is “really” beautiful, that participates in Beauty, must have a total effect since it concerns the whole human being.
Aesthetics and Modernity: Essays by Agnes Heller by John Rundell