In this e-book, one among Italy's most crucial and unique modern philosophers considers the prestige of artwork within the sleek period. he is taking heavily Hegel's declare that artwork has exhausted its non secular vocation, that it really is now not via artwork that Spirit mostly involves wisdom of itself. He argues, besides the fact that, that Hegel on no account proclaimed the "death of artwork" (as many nonetheless think) yet proclaimed fairly the indefinite continuation of artwork in what Hegel known as a "self-annulling" mode.
With incredible breadth and originality, the writer probes the which means, aesthetics, and old results of that self-annulment. In essence, he argues that the beginning of recent aesthetics is the results of a sequence 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 stream of irony.
Through this idea of self-annulment, the writer bargains an innovative reinterpretation of the historical past of aesthetic conception from Kant to Heidegger, and he opens up unique views on such phenomena because the upward thrust of the fashionable museum, the hyperlink among artwork and terror, the common affinity among "good flavor" and its perversion, and kitsch because the inevitable future of paintings within the glossy period. the ultimate bankruptcy bargains a blinding interpretation of Dürer's Melancholia within the phrases that the publication has articulated as its own.
The guy with no Content will certainly curiosity those that already prize Agamben's paintings, however it also will make his identify proper to a complete new audience—those concerned with artwork, artwork background, the historical past of aesthetics, and well known culture.