By Giorgio Agamben
With extraordinary breadth and originality, the writer probes the which means, aesthetics, and historic outcomes of that self-annulment. In essence, he argues that the delivery of recent aesthetics is the results of a chain of schisms—between artist and spectator, genius and style, and shape and topic, for example—that are manifestations of the deeper, self-negating but self-perpetuating move of irony.
Through this idea of self-annulment, the writer deals an inventive reinterpretation of the heritage of aesthetic conception from Kant to Heidegger, and he opens up unique views on such phenomena because the upward thrust of the trendy museum, the hyperlink among paintings and terror, the usual affinity among "good style" and its perversion, and kitsch because the inevitable future of paintings within the sleek period. the ultimate bankruptcy deals a blinding interpretation of Dürer's Melancholia within the phrases that the publication has articulated as its own.
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