By Andreas Huyssen
"One of the main finished and clever postmodern critics of paintings and literature, Huyssen collects right here a sequence of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings continues to be alert to the problematical dating acquiring among marxisms and poststructuralisms." —American Literary History
"... difficult and astute." —World Literature Today
"Huyssen's level-headed account of this arguable constellation of severe voices brings welcome explanation to today's murky haze of cultural dialogue and proves definitively that observation from the culture of the German Left has an crucial position to play in modern criticism." —The German Quarterly
"... we are going to definitely have, after studying this ebook, a deeper figuring out of the forces that experience led as much as the current and of the probabilities nonetheless open to us." —Critical Texts
"... a wealthy, multifaceted study." —The Year's paintings in English Studies
Huyssen argues that postmodernism can't be considered as an intensive holiday with the earlier, because it is deeply indebted to that different pattern in the tradition of modernity—the ancient avant-garde.
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Extra resources for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
23 This formula seems particularly applicable to the Lysis, in which Socrates initiates a dialogue, in an explicitly erotic context, with a boy described as 26 Dialogue and Deviance: Male–Male Desire “someone worth being spoken of not only for being beautiful, but because he was beautiful and good” (p. 22, 207a). Physical attraction, however, in Plato’s subsequent works, must yield ultimately to a spiritual eros transcending individual bodies and directed at the eternal Forms, until in the Laws it is to be suppressed entirely, at least as in its physical manifestations between men.
The dramatic setting, too, is quickly forgotten as the brief initial discussions between M and A turn almost immediately into M’s lengthy disquisitions. Erotics of Friendship 41 The introductory sections of each book prepare us for the authoritative, monologic nature of the ensuing texts, as in the opening of Book I. Like the other books, it begins not with the dramatic situation of the dialogue itself, but with a long address to their dedicatee, Brutus, in which Cicero explains his choice of the dialogue form.
It is, by implication, not really a dialogue with interlocutors at all, but a speech meant to persuade an audience of the correctness of his opinions.