The Pathos of Distance : Affects of the Moderns MOBI book
9781501307997 English 1501307991 Jean-Michel Rabate uses Nietzsche's image of a "pathos of distance," the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of "pathos of distance" impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense of modernity when they tried to tease out all the implications of "distance." Despite Benjamin criticism of Nietzsche's doctrine of the "eternal return of the same" in the" Arcades Project," in his "Theses on the Philosophy of History" Benjamin envisions a redeemed history that follows Nietzsche's basic intuition about the need to make every moment count for history. By first establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, Rabate is able to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, Gide and Genet's ethical impulse to combine erotic liberation with the motivation for political revolution, and Derrida's reading of Joyce's "Ulysses "and a modern mode of writing that sought to get closer to the senses. The result is a fascinating critique of Nietzsche, Benjamin, affect theory, and the origins of the ethics of modernism.", Jean-Michel Rabaté uses Nietzsche's image of a .pathos of distance,. the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of .pathos of distance. impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense of modernity when they tried to tease out the differential implications of .distance.. Despite Benjamin's criticism of Nietzsche's doctrine of the .eternal return of the same. in the Arcades Project , his .Theses on the Philosophy of History. envision a redeemed history that parallels both Nietzsche's wish to make every moment count for history and Aby Warburg's vision of gestures expressing a trans-historical pathos.By establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, and by grafting on their insights Aby Warburg's enigmatic but productive concept of Pathosformel, Rabaté is able to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot's post-war despair, Jean Cocteau's formidable self-mythology in his first film Blood of a Poet, Siri Hustvedt's novel of American trauma, and J. M. Coetzee's dystopia portraying an affectless future haunted by a messianic promise. The result is a fascinating critique of Nietzsche, Benjamin, Warburg, affect theory, and the ethics of the modern, that finally brings us in front of the door of Duchamp's Etant Donnés ., Jean-Michel Rabaté uses Nietzsche's image of a ?pathos of distance,? the notion that values are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. Revealing overlooked connections between Nietzsche's and Benjamin's ideas of history and ethics, Rabaté provides an original genealogy for modernist thought, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot's post-war despair, Jean Cocteau's formidable selfmythology in his first film The Blood of a Poet , Siri Hustvedt's novel of American trauma, and J. M. Coetzee's dystopia portraying an affectless future haunted by a messianic promise., Jean-Michel Rabaté uses Nietzsche?s image of a ?pathos of distance,? the notion that values are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. Revealing overlooked connections between Nietzsche?s and Benjamin?s ideas of history and ethics, Rabaté provides an original genealogy for modernist thought, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot?s post-war despair, Jean Cocteau?s formidable self mythology in his first film The Blood of a Poet, Siri Hustvedt?s novel of American trauma, and J. M. Coetzee?s dystopia portraying an affectless future haunted by a messianic promise.
9781501307997 English 1501307991 Jean-Michel Rabate uses Nietzsche's image of a "pathos of distance," the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of "pathos of distance" impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense of modernity when they tried to tease out all the implications of "distance." Despite Benjamin criticism of Nietzsche's doctrine of the "eternal return of the same" in the" Arcades Project," in his "Theses on the Philosophy of History" Benjamin envisions a redeemed history that follows Nietzsche's basic intuition about the need to make every moment count for history. By first establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, Rabate is able to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, Gide and Genet's ethical impulse to combine erotic liberation with the motivation for political revolution, and Derrida's reading of Joyce's "Ulysses "and a modern mode of writing that sought to get closer to the senses. The result is a fascinating critique of Nietzsche, Benjamin, affect theory, and the origins of the ethics of modernism.", Jean-Michel Rabaté uses Nietzsche's image of a .pathos of distance,. the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of .pathos of distance. impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense of modernity when they tried to tease out the differential implications of .distance.. Despite Benjamin's criticism of Nietzsche's doctrine of the .eternal return of the same. in the Arcades Project , his .Theses on the Philosophy of History. envision a redeemed history that parallels both Nietzsche's wish to make every moment count for history and Aby Warburg's vision of gestures expressing a trans-historical pathos.By establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, and by grafting on their insights Aby Warburg's enigmatic but productive concept of Pathosformel, Rabaté is able to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot's post-war despair, Jean Cocteau's formidable self-mythology in his first film Blood of a Poet, Siri Hustvedt's novel of American trauma, and J. M. Coetzee's dystopia portraying an affectless future haunted by a messianic promise. The result is a fascinating critique of Nietzsche, Benjamin, Warburg, affect theory, and the ethics of the modern, that finally brings us in front of the door of Duchamp's Etant Donnés ., Jean-Michel Rabaté uses Nietzsche's image of a ?pathos of distance,? the notion that values are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. Revealing overlooked connections between Nietzsche's and Benjamin's ideas of history and ethics, Rabaté provides an original genealogy for modernist thought, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot's post-war despair, Jean Cocteau's formidable selfmythology in his first film The Blood of a Poet , Siri Hustvedt's novel of American trauma, and J. M. Coetzee's dystopia portraying an affectless future haunted by a messianic promise., Jean-Michel Rabaté uses Nietzsche?s image of a ?pathos of distance,? the notion that values are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. Revealing overlooked connections between Nietzsche?s and Benjamin?s ideas of history and ethics, Rabaté provides an original genealogy for modernist thought, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot?s post-war despair, Jean Cocteau?s formidable self mythology in his first film The Blood of a Poet, Siri Hustvedt?s novel of American trauma, and J. M. Coetzee?s dystopia portraying an affectless future haunted by a messianic promise.