Wendy Steiner, “The Real Real Thing: The Model in the Mirror of Art” (University of Chicago Press, 2010)

Wendy Steiner, “The Real Real Thing: The Model in the Mirror of Art” (University of Chicago Press, 2010)

As the last of what Wendy Steiner refers to as “a loose trilogy” with her earlier works, The Scandal of Pleasure (1995) and Venus in Exile (2001), The Real Real Thing: The Model in the Mirror of Art (University of Chicago, 2010) sets out to establish the centrality of “the model” in art to our understanding of subjectivity and freedom and the ethical imperative that she suggests lies within it. For Steiner, “the model,” historically conceptualized and understood as female and objectified as such, assumes the level of ontological importance and acts as a symbolic structure that not only lays bare the hierarchies and mechanics of power, but possess the unique ability to reimagine and “introduce new hierarchies into the world” (20). “The model” along with politics and power in Steiner’s estimation are closely linked and in fact bound together. The intriguing and theoretical tension between the seeming contradiction that what on the level of the symbol can be read as object can also be accessed in order to influence the real is one that is thrilling to see the author trace and work out. To this point specifically, Steiner does an incredible job. Her theoretical argument invokes the work of Kant, Roman Jakobson, Jacques Lacan, and Judith Butler to varying degrees. Neatly divided into three parts, The Real Real Thing moves from a theoretical exploration of “the model” to several fascinating studies of artists and art works that have employed the model as Steiner envisions it.Bringing “the model” from the realm of the theoretical to that of the real, Steiner closes the book by returning to her notion of the ethical imperative inherent to it. She makes a strong and impassioned case for modern art and what she sees as its “democratic” and “progressive” nature in its ability to not just call attention to itself as art, as an end in itself, but to invite the spectator into a symbiotic union that creates. It is within this union that traditionally rigid aesthetic notions of beauty and perfection can be overridden and redefined anew. I thoroughly enjoyed reading The Real Real Thing: The Model in the Mirror of Art and I encourage anyone interested in aesthetics, the future of art, and the future of the arts especially to read this book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Episoder(2074)

Thomas Wheatland, “The Frankfurt School in Exile” (University of Minnesota Press, 2009)

Thomas Wheatland, “The Frankfurt School in Exile” (University of Minnesota Press, 2009)

I have a friend who, as a young child, happened to meet Herbert Marcuse, by that time a rock-star intellectual and darling of the American student movement. Upon seeing the man, he exclaimed “Marcuse! Marcuse! You have such a beautiful head!” I don’t know how beautiful Herbert Marcuse’s head was, but I do know a lot of other interesting things about him and his Frankfurt School buddies now that I’ve read Thomas Wheatland’s wonderful The Frankfurt School in Exile (University of Minnesota Press, 2009). The story Tom tells casts the Frankfurt School in a new (and more correct) light. For one thing, Horkheimer, Adorno, and the rest really were hard-core empirical social scientists in the beginning, not “Critical Theorists” as we understand the term. They counted, measured, conducted surveys and did everything a positivist sociologist or economist would do. But, of course, that was not how they became idols of the New Left and the founders of “Critical Theory.” (Now that I think about it, almost no one ever achieves fame by doing empirical social science. See “Malcolm Gladwell” for more.) No, they–or rather Fromm, Marcuse and Habermas–got famous by telling young Americans that they were “repressed,” “alienated,” and “downtrodden” at exactly the moment they wanted to hear it, that is, the 1960s. You see, the “old” Marxism was dead; this was the “new and improved” version. In other words, they were in the right Critical-Theoretical place and at the right Critical-Theoretical time. And, as Tom points out, they were bewildered and even a bit disturbed by their fame. Despite what my friend said, Marcuse did not get a big head. Rather the opposite. He, much to his credit, told the students he didn’t want to be their guru, that he didn’t believe in gurus. But they didn’t care–they made him one anyway. Students love gurus. I loved Tom Wheatland’s book, and I encourage you to read it. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

12 Jun 20091h 14min

John H. Summers, “Every Fury on Earth” (Davies Group, 2008)

John H. Summers, “Every Fury on Earth” (Davies Group, 2008)

The vast majority of historians write history. Perhaps that’s good, as one should stick to what one knows. But there are historians who braves the waters of social and political criticism. One thinks of Arthur Schelsinger Jr., Richard Hofstadter, Christopher Lasch, Robert Conquest, Richard Pipes, Eric Hobsbawm, E. P. Thompson, and more recently Tony Judt, Sean Wilentz and Victor Davis Hanson. Today I had the good fortune to speak with a historian who is virtually sure to enter the top rank of historian-public intellectuals, John H. Summers. Indeed, he already has. He’s published numerous probing essays on academic life, anarchism, the Left, sex scandals, anti-Americanism, the fate of newspapers, and, of course, many of the great American public intellectuals (he’s at work on a biography of C. Wright Mills). Summers does what all critics worth their salt do: comfort the afflicted and afflict the comfortable. Just read his remarkably insightful “All the Priviledged Must Have Prizes” about his experience teaching at Harvard. (Also, read the comments attending article, where current Harvard students unwittingly prove Summers’ main points). We must be grateful, then, that the folks at the Davis Group Press have elected to publish a collection of Summers’ finely crafted essays in Every Fury on Earth (2008). The book is challenging, thought-provoking, and courageous. John H. Summers does not blink. You will agree with some of the things he says, and you will disagree with others. That, of course, is the fun of it. BTW: If you have a relative or friend who is an academic, this book would make a perfect holiday gift. If you are an academic, indulge yourself and buy it. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

16 Des 20081h 10min

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