Title, After the great divide: modernism, mass culture, postmodernism / Andreas Huyssen. Author, Huyssen, Andreas. Extent, dpi TIFF G4 page images. After the Great Divide has 75 ratings and 3 reviews. intelligent postmodern critics of art and literature, Huyssen collects here a series of his essays on pomo. Today’s challenge to the divide between mass culture and modernism goes by the name of the postmodern. Huyssen argues that postmodernism itself cannot.
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After the great divide: modernism, mass culture, postmodernism
Lists with This Book. This book is not yet featured on Listopia. Aug 13, Bertrand rated it liked it Shelves: After getting off to a particularly flying start the book showed the lack of unity one can expect from a collection of essays previously published in academic journals: That’s probably the sign of a strong authorial voice with contemporary relevance, but that is also, for the amateur that I am, often a little disappointing.
I feel After getting off to a particularly flying start the book showed the lack of unity one can expect from a collection of essays previously published in academic journals: I feel ashamed to admit it, but it seems my interest in modernism is inversely proportional to its relevance to contemporary culture.
This is an interesting position, and one certainly congruent with the “Burger” theory of the avantgarde, which postulate its project as the “sublation of art into life”, although the in Burger the subtext seems to present this sublation in terms of performance, whereas adding the mediation of mass-culture as an ‘in-between’ of art and life dependant on technology opens up a more collective and political dimension.
Unfortunately none of this is really tackled by Huyssen except for the role of technologywho does a great job of defining the avantgarde in his first essay ‘The Hidden Dialectic’ but does not, I found, take enough time to define mass culture I would add he also wait until his final essay to offer a conclusive definition of modernism, which -as with most theoricians- is either presented as including avantgarde or as opposed to it, sometimes assimilated to modernity and sometimes seen as its ‘adversarial culture’, etc.
One of the quandaries of writing about modernism in the age of post-modernism and one tthe Huyssen comes close to identifying is that the canon of authors, the available and acknowledged material that need be the source material of any interpretation of the concept, is provided by those “high modernist” critics Adorno, Greenberg, etc. I have always thought that the modernist -even high modernist- aspirations to artistic autonomy were overstated afte the classical accounts: For Huyssen Adorno unlike Benjamin opposes the avantgarde project of sublating art into life because he finds its fulfilment in totalitarianism.
Autonomy is the condition for art’s critical potential. The third essay ‘Mass Culture as Woman: Modernism’s Other’ tackles maybe inaugurate a subject that has since become hugely popular, the gendered quality of avantgarde and modernism. Huyssen set out to show the greaf linkage of women and mass-culture in the modernist imaginary: Huyssen’s argument contend that modernism, with its emphasis on the artwork’s autonomy, rejected the influence of mass-culture as feminine, in favour of a glorification of the absolute, ex-nihilo creation of heroic masculinity.
This is problematic insofar as those charges are made against modernism in the largest sense, that is, artistic creation between Baudelaire and Minimalism, while divde most of its examples from the “critical high-modernism” of Greenberg and Adorno: Huyssen’s laudable project, as outlined in his introduction, is to show the complex intertwinement of mass-culture and modernism, but in this particular context he fails to expand his revision to the atfer take on feminity.
On the basis of high-modernism’s rejection of mass-culture, he generalises on modernism’s -in general- rejection of feminity. Indeed literature and the arts, as their foundational authority was progressively rescinded while the bourgeois order solidified, took an increasingly oppositional stance: Thus Flaubert might well have written that “Madame Bovary, c’est moi” quoted p.
Hence the ambivalent gendering of the writer, living and acting within a reality rhe perceived as formless and female, while practising the virile huyssej of sub creation.
We might add that outside the particular confines of the avantgarde and its immediate precursor, varied grwat of the creative process hreat complicate the gendering of authorship: In this model, the artist is masculine inasmuch as he has authority onto human society, but remain feminine insofar as he is “enthused”, tye he receives inspiration within himself.
If we consider the eroding of the frontier between poetry and the novel in the early XXth century, we might see that soon the divide might be traced more along the lines of art as interpretation feminine vs art as construction masculinea distinction which solidifies with the inter-war return to order.
Follow an essay on Fritz Lang’s Metropolis, a couple of essays on post-war German drama, and a reading of Peter Weiss’ Aesthetics of Resistance — none of them particularly convincing, and at any rate somewhat out of sync from the general thrust of the book. The third section starts with afrer other highlight of the book, Huyssen’s examination of pop art and its ambivalent role in defusing the high-modernist rejection of mass culture. Ultimately he seems finds pop art to be complicit with rampant and totalising capitalism, because he takes at face-value some of Warhol’s declarations; I think that pop art participate of what Zizek called “over-identification” in relation to the NSK, and would grest better understood in the context of Mathew W.
Smith’s ‘total performance of the self’: The last two aftter are also quite valuable: This is all very well written and intelligently thought out. On the whole this did not turn out to be the life-changing experience I expected, and although I can see why dibide is so often quoted, I can also see that it is a bit dated.
If one day I give post-modernism its due attention I will certainly return to the book, but as far as modernism is concerned, much of what is said here has since been retold, expanded in a format that seems to me clearer, and maybe less partisan. The first essay itself is well worth reading and I am surprised no one seems to have scanned it yet Sep 14, Kent rated it really liked it Shelves: There are a couple historical narratives worth watching in this book.
After the Great Divide: Modernism, Mass Culture, Postmodernism
One thf the appropriation of surrealism by the Modernist movement. I am very interested in how Huyssen describes this historical moment, where surrealism began in reaction to the distance modernism attempted to create between art and a general public. And then Modernism’s subsequent appropriation of surrealism’s artistic huysssen. Perhaps this is general art history, but it was my first interaction with it.
But what I find even There are a couple historical narratives worth watching in this book. But what I find even more fascinating is that the book is written as a study on Germany’s experience of art, and I think Huyssen does an excellent job describing the cultural challenge artists encountered coming to a national understanding post World War II.
After the Great Divide: Modernism, Mass Culture, Postmodernism – Andreas Huyssen – Google Books
It has significantly influenced my thoughts on how art practices relevance in general society. Feb 25, Rob rated it really liked it Shelves: Grea Ramos rated it liked it Jul 28, Kevin rated it liked it Jan 22, Dave rated it really liked it Apr 19, Ferat rated it really liked it Dec 06, Greta Raymond rated it it was amazing Jun 10, Laura rated it really liked it Oct 10, Rae rated it liked it Nov 12, Chris Hutchinson rated it really liked it May 04, Nutsjel rated it liked it May 02, Marcie rated it liked it Jul 05, Spock rated it really liked it Jun 03, Xivide Arenberg rated it really liked it Sep 17, Ellen rated it liked it Nov 22, Nic rated it it was amazing Mar 31, Sarah rated it really liked it Dec 13, Mahmuda Rahman rated it really liked it Dec 15, Jen rated it liked it Jan 17, Sheikh Tajamul rated it really liked it May 14, John rated it really liked it Feb 02, Sarah te it really liked it Oct adter, Domenic rated it liked it Sep 26, Cindy Rosen rated it really liked it Nov 17, Colin rated it really liked it Feb 02, Rowena rated it liked it Aug 23, There are no discussion topics on this book yet.
He is the founding director of the university’s Center for Comparative Literature divude Society and one of the founding editors of the New German Critique, the leading journal of German studies in the United States. Books by Andreas Huyssen. Trivia About After the Great D No trivia or quizzes yet. Just a moment while we sign you in to your Goodreads account.