MARC record from Internet Archive

LEADER: 05092cam 2200961 a 4500
001 ocm22494641
003 OCoLC
005 20200608055143.0
008 900830s1991 enka b 001 0 eng
007 ta
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050 00 $aBH39$b.B3845 1991
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082 00 $a111/.85$220
084 $a08.41$2bcl
084 $aCC 6900$2rvk
084 $a5,1$2ssgn
100 1 $aBenjamin, Andrew E.
245 10 $aArt, mimesis, and the avant-garde :$baspects of a philosophy of difference /$cAndrew Benjamin.
260 $aLondon ;$aNew York :$bRoutledge,$c1991.
300 $aix, 217 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 213-214) and index.
505 0 $aIntroduction: Inaugurating repetition -- 1. Interpreting reflections : painting mirrors -- 2. Spacing and distancing -- 3. Betraying faces : Lucian Freudʹs self-portraits -- 4. Present remembrance : Anselm Kieferʹs Iconoclastic controversy -- 5. Kitaj and the question of Jewish identity -- 6. Malevich and the avant-garde -- 7. Eisenman and the housing of tradition -- 8. Pluralism, the cosmopolitan and the avant-garde -- 9. The decline of art : Benjaminʹs aura -- 10. Tradition and experience : Walter Benjaminʹs "On some motifs in Baudelaire" -- 11. Descartesʹ fable : the Discours de la methode -- 12. The redemption of value : Laporte, writing as Abkurzung.
520 $aArt, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon's use of mirrors, R.B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together. -- Publisher description.
650 0 $aAesthetics.
650 0 $aAvant-garde (Aesthetics)
650 0 $aMimesis in art.
650 6 $aEsthétique.
650 6 $aAvant-garde (Esthétique)
650 6 $aMimêsis.
650 7 $aAesthetics.$2fast$0(OCoLC)fst00798702
650 7 $aAvant-garde (Aesthetics)$2fast$0(OCoLC)fst00824280
650 7 $aMimesis in art.$2fast$0(OCoLC)fst01896117
650 07 $aAvantgarde.$0(DE-588)4133965-4$2gnd
650 07 $aKunst.$0(DE-588)4114333-4$2gnd
650 07 $aMimesis.$0(DE-588)4039392-6$2gnd
650 07 $aÄsthetik.$0(DE-588)4000626-8$2gnd
650 17 $aEsthetica.$2gtt
650 17 $aMimesis.$2gtt
650 17 $aAvant-garde.$2gtt
650 7 $aEstetica (arte)$2larpcal
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650 07 $aKunst.$2swd
650 07 $aAufsatzsammlung.$2swd
650 07 $aMimesis.$2swd
650 07 $aÄsthetik.$2swd
653 $aAesthetics
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856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy0648/90047905-d.html
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