By Gerhard Richter
Gerhard Richter's groundbreaking research argues that the idea that of "afterness" is a key determine within the proposal and aesthetics of modernity. It pursues questions comparable to: What does it suggest for anything to "follow" anything else? Does that which follows mark a transparent holiday with what got here prior to it, or does it actually tacitly perpetuate its predecessor because of its inevitable indebtedness to the phrases and stipulations 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 circulation of following into movement had occurred?
The publication explores the concept that and flow of afterness as a privileged but uncanny class via shut readings of writers equivalent to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It exhibits how the vexed innovations 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 ancient and conceptual specificity of what has been termed "after Auschwitz." The study's a variety of analyses—across a heterogeneous choice of sleek writers and thinkers, assorted old moments of articulation, and a number of media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered via the 'after.'" As Richter's elaborate learn demonstrates, a lot hinges on our interpretation of the "after." in any case, our such a lot primary assumptions referring to smooth aesthetic illustration, conceptual discourse, neighborhood, subjectivity, and politics are at stake.
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Extra info for Afterness: Figures of Following in Modern Thought and Aesthetics
But the radically mediated and melancholic form of afterness that will have been at stake in the present study cannot be reduced to the Habermasian notion of modernity as an unﬁ nished project that sometimes veers off course, but still, in principle, is capable of completion and redemption. The aporetic concept of afterness that lies at the core of our concerns refuses to be enframed by a pledge of allegiance to normativity and to the alleged transparency of presentation and communication that would characterize a more perfectible image of modernity.
13 For the Hegelian system that pivots on the regulative idea of absolute knowledge, there hardly can be a true form of absolute loss or an actual experience of the hauntings occasioned by an irrecuperable trauma—in short, nothing for which comfort could not be potentially adduced from elsewhere—but the life of afterness that Nietzsche imagines can never be one of redemption and Aufhebung. And, in fact, one might say that it is with Nietzsche’s refusal of all Aufhebung and reconciliation in the wake of loss— in what Heidegger will later refer to as Nietzsche’s ﬁnal completion and simultaneous undoing of metaphysics—that the writers treated in this study linger, each in his own particular philosophical, cultural, and political idiom.
Yet the after-effectiveness of critique, so to speak, exposes it at the same time to a moment of uncertainty and deferred meaning, since it remains to be asked to what extent critique does not simply put what it criticizes behind it, but continues to be codetermined by it. Seen from this perspective, critique still ﬁnds itself in the thrall, and in the debt, of what it criticizes. Before recalling Kant’s fundamental articulation of critique, it will be helpful to examine an often-overlooked passage in the Critique of the Power of Judgment that concerns the temporally mediated connection between two different conﬁgurations of language and thought.
Afterness: Figures of Following in Modern Thought and Aesthetics by Gerhard Richter