By Gerhard Richter
Gerhard Richter's groundbreaking learn argues that the idea that of "afterness" is a key determine within the notion and aesthetics of modernity. It pursues questions corresponding to: What does it suggest for whatever to "follow" whatever else? Does that which follows mark a transparent holiday with what got here earlier than it, or does it in truth tacitly perpetuate its predecessor by reason of its inevitable indebtedness to the phrases and prerequisites of that from which it claims to have departed? certainly, isn't the very act of breaking with, after which following upon, a fashion of retroactively developing and fortifying that from which the holiday that set the circulate of following into movement had occurred?
The ebook explores the concept that and circulate of afterness as a privileged but uncanny classification via shut readings of writers comparable to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It indicates how the vexed techniques of afterness, following, and coming after shed new mild on a constellation of recent preoccupations, together with own and cultural reminiscence, translation, images, wish, and the old and conceptual specificity of what has been termed "after Auschwitz." The study's numerous analyses—across a heterogeneous choice of smooth writers and thinkers, various old moments of articulation, and a number media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered through the 'after.'" As Richter's tricky learn demonstrates, a lot hinges on our interpretation of the "after." in spite of everything, our so much basic assumptions relating sleek aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
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Additional info for Afterness: Figures of Following in Modern Thought and Aesthetics (Columbia Themes in Philosophy, Social Criticism, and the Arts)
Having developed onomatopoeically from the sound plumps, which might be heard whilst an immense item hits the floor, the be aware in sleek German can also denote the sound individual or an item makes whilst falling clumsily into the water (ins Wasser plumpsen) or onto the floor (einen Plumps auf den Boden machen). Plump, in addition to its Low German counterpart plomp, indicates what's considerably loud and crass, unformed and unrefined, instead of what's sophisticated, smooth, difficult, and fine—in either a actual and an highbrow feel. 15 To translate plump with its modern English cognate could maybe be to overemphasize the point of thickness or podgy massiveness that the adjective implies this present day, if one doesn't additionally pay attention the big thud that reverberates within the adjective’s etymology. To translate it as “awkward” or “clumsy” will be to foreground the actual characteristics of its events, whereas either “crude” or “blatantly seen” are a little extra negatively coded in English. “Crass” or “embarrassingly overfamiliar” don't absolutely seize the ponderousness that plump additionally implies, whereas “blatant” fails to render the fallenness of plump, the surprising plummeting and plunging, the splashing thud or bump with which a physique hits the water or the floor. those problems in translating plump are faraway from secondary philological concerns; they communicate to the heterogeneous meanings that traverse the idea that itself. at the one hand, it truly is as if any translation of plump into modern English could violate the blunt coarseness of its inspiration since it must turn on a refined etymological family tree that hyperlinks the 2 languages in historical past. this sort of translation of plump as “plump” within the older English senses will be traditionally erudite, conceptually sophisticated, and as a result at odds with what's actually plump. however, it truly is as if any translation of plumpes Denken may possibly itself merely be plump. In its very resistance to idiomatic translation, plumpes Denken denies itself, at the constative point, to the subtleties of an excellent or profitable translation, whereas at the same time supplying itself, at the performative point, as an instantiation of the crude plump-ness that it names. whereas, at the one hand, there will be no sturdy translation of plumpes Denken, at the different, there could be merely stable translations of the word. in spite of everything, each translation of plumpes Denken, regardless of how undesirable, may be thought of a very good translation to the level that it exemplifies and levels accurately that of which the thing of its translation speaks and which that item won't relinquish in any denotative and constative move. If Brecht’s first sentence makes a concession (“freilich” [to be sure]) in regards to the shortcoming of subtlety in plumpes Denken, then the shortcoming that this concession recognizes is redeemed by means of the statement that this very lack is justified as a result of its shut relation (“sehr nahe”) to fact. A qualitative overview is therefore translated right into a relational review, with the latter putatively compensating for the shortcomings of the previous.