After the Great Divide: Modernism, Mass Culture, Postmodernism

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Although this is a second hand copy. Pages: Seller Inventory More information about this seller Contact this seller 6. Trade Paperback. Reliable customer service and no-hassle return policy. Bookseller Inventory More information about this seller Contact this seller 7. Published by Macmillan, Houndmills From: Bij tij en ontij Kloosterburen, NL, Netherlands. About this Item: Macmillan, Houndmills, Paperback, 23 cm, pp. With underlinings by a late professor in theology and philosophy. ISBN: More information about this seller Contact this seller 8.

A copy that has been read, but remains in excellent condition.

After the Great Divide: Modernism, Mass Culture, Postmodernism

Pages are intact and are not marred by notes or highlighting, but may contain a neat previous owner name. The spine remains undamaged. Seller Inventory GI4N More information about this seller Contact this seller 9. More information about this seller Contact this seller Published by Indiana University Press Bloomington He demonstrates modernism's symbiotic, agonistic and complementary relationship with mass culture and addresses 'the central issues of contemporary culture'.

Published by Indiana University Press About this Item: Indiana University Press, Soft cover. Illustrated wrapper is clean, showing light handling.

  • After the great divide modernism, mass culture, postmodernism Andreas Huyssen by Huyssen, Andreas.
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Binding is square and not creased, though spine is lightly sunned. A Midland Book: MB Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. Established seller since Seller Inventory IQ Shipped from US within 10 to 14 business days. Difference and Repetition Bloomsbury Revelations. High Heel Object Lessons. How to Read and Why. Poetics Dover Thrift Editions.

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At Columbia University, he continues to teach a legendary course on Frankfurt School Critical Theory — a major body of work by 20th-century German intellectuals — that confounds, inspires, and enlightens undergraduate and graduate students alike. At the time, this essay helped his newly acquired American audience understand how postmodernism was itself following the failed attempts of the European avant-gardes to resist the institutionalization and commodification of art.

It remains one of the most important interventions into the debates about postmodernism. Since then, he has published widely on issues related to the politics of memory, the visual arts, and urban imaginaries in a global perspective.

  • After the Great Divide Modernism, Mass Culture and Postmodernism (豆瓣).
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In his most recent book, Miniature Metropolis: Literature in an Age of Photography and Film , Huyssen returns to two of the things he loves most: literature and close reading. The short prose-pieces of Charles Baudelaire, Franz Kafka, Benjamin, Siegfried Kracauer, Robert Musil, and Adorno occasion a series of sophisticated observations about the way new media technologies were helping to revolutionize modes of perception.

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Huyssen has put together another map that can help us navigate the digital age in which we are now living. Why write a book at this point in your career? The humanities in general at that time required interventions on a variety of intellectual issues in literature, the visual arts, cultural theory, mass culture, and the then raging postmodernism debates. It was not a time for long-term single-topic projects. The academic essay seemed the proper medium.


Still, these earlier essay collections did have their thematic and conceptual centers — whether postmodernism or memory politics. Hiding in plain sight, as it were, the miniature called for a sustained treatment and close reading in all its variety from Baudelaire, Rainer Maria Rilke, and Kafka to Kracauer, Musil, and Benjamin. The paradox is, of course, that now there is a long book about writing miniatures. Modernist miniatures are short prose texts written for little magazines or newspaper feuilletons arts supplements by major German, French, and Austrian modernists.

Always published in groups, they reflect on the fleeting experiences of modern city life, especially as it was shaped by the arrival of photography and early cinema. As such, they register the resulting historical transformation in perceptions of time and space in the later 19th and earlier 20th centuries. In their compressed form, miniatures also accommodate the short attention spans of urban readers, but in their conceptual ambition and complexity, they sit like foreign bodies in the feuilleton, a section of the newspaper mainly geared toward easy consumption. The thought of the Weimar Left and the German exiles, especially those in LA, came to be central for my attempt to understand the American obsession with the postmodern from a European perspective.

Memory politics and the urban environment became my focus after the fall of the Berlin Wall, when I witnessed close-up the transformation of Berlin and German political culture. I wrote about these changes in the essays collected in Twilight Memories and Present Pasts Later, I was led to explore the issue of urban imaginaries in a context decidedly beyond the world of the Northern Transatlantic, which at the time was still dominant in architectural and urban studies. However, the contemporary transformation of metropolitan areas worldwide under neoliberal siege and digital triumphalism raised questions about the earlier development of metropolitan experience in its relationship to emerging new media — for nothing is ever quite as new as it claims.

I recognized then that the major critical theorists of modernity and of modern media in whom I was interested — Kracauer, Benjamin, and Adorno — had themselves produced amazing texts in this literary project that I now see were metropolitan miniatures. Nonetheless, the method remained an expanded form of close reading, drawing conceptually on these now canonical Frankfurt School theorists. It is, without apology, a book about literature. To avoid a misunderstanding: while I insist on the differential specificity of the literary miniature in relation to visual media, I do not claim superiority of one over the other.

Instead, I am interested in the permanent negotiation between the visual and the verbal, which was already constitutive of 20th-century modernism and which has reached a new crescendo in the commercial and social media of our day. Why was the miniature so popular in Austria, Germany, and France in the first half of the 20th century?