Arthur Schopenhauer: Parerga and Paralipomena: Short Philosophical Essays, Vol. 2

Schopenhauer, Arthur; Payne, Emily

doi:10.1093/actrade/9780199242214.book.1

Cited by 21 publications

(14 citation statements)

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“…22 Overcoming will, annulling it, negating it -'This is the ultimate goal, and indeed the innermost nature of all virtue and holiness, and is salvation from the world' 23 -can be possible either through abstinence or by means of art which places an object of aesthetic apprehension and pleasure: 'On the occurrence of an aesthetic appreciation, the will thereby vanishes entirely from conscious ness.' 24 In other words, and following the Kantian model which Schopenhauer addresses throughout his essay, art generates pure, will-less viewing and appreciation of aesthetic objects. Hamutal Bar-Yosef explains:…”

Section: Artificial: Transcending Desirementioning

confidence: 98%

Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre

Harari¹

2013

New Theatre Quarterly

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Exactly one hundred years separate two notorious dramatic aristocrats: Alfred Jarry's wild Ubu and Sarah Kane's apathetic Hippolytus. Ubu is iconic of Jarry's surreal reaction to nineteenth-century positivism and, at the same time, a criticism of modernism's abstract poetics and will-less aesthetic experience. Kane's Hippolytus is a witty and macabre response to the late twentieth-century ‘logic’ of capitalism. Nevertheless, these seemingly diametrically opposed characters share one trait that binds them – spending desire. In this article Dror Harari considers these figures as conspicuous waypoints along a broader spectrum of indispensable relations between body and desire in modern theatre. He tracks certain dramaturgies of desire, as theorized and/or realized by theatre practitioners and philosophers. Starting with modernist attempts to overcome desire by likening the performer's body to a machine, he closes with the indifferent Hippolytus becoming a desiring machine. Dror Harari is senior lecturer in the Department of Theatre Arts, Tel Aviv University. His recent articles have appeared in The Drama Review, Samuel Beckett Today/Aujourd'hui, Theatre Research International, and Theatre Annual. His study Self-Performance: Performance Art and the Representation of Self is forthcoming in Hebrew from Resling Publications, an Israeli academic publishing house.

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Section: Artificial: Transcending Desirementioning

confidence: 98%

Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre

Harari¹

2013

New Theatre Quarterly

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“…Keeping these assumptions in mind – which read like verses from Ecclesiastes if the Preacher had been a Marxist – in order to limit the scope of social criticism’s significance, one can proceed to give a voice to the suffering of the present in a “sincere” and “honest” fashion. To accomplish this, Horkheimer adopted something that looks like Schopenhauer’s (e.g. 1974: 291ff) claim that life’s suffering has an ontologically greater status than life’s happiness and evil is an overriding force whereas goodness is merely the absence of evil.…”

Section: The Frankfurt School’s Nonideal Theory: the Coupling Of Matementioning

confidence: 99%

A defense of the “Grand Hotel Abyss”

Gunderson

2014

Acta Sociologica

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The menace of pessimism in early critical theory is often criticized for being antithetical to Marxism's emancipatory vision and/or implicitly conservative, a position memorably illustrated in Lukács' appraisal of Adorno as a resident of Schopenhauer's ''Grand Hotel Abyss,'' where one enjoys a nihilistically detached yet aesthetically pleasurable stay without mounting any real challenges to the miseries of the real world. This stance, reworked in numerous assessments of the first-generation Frankfurt School, presupposes that radicalism and pessimism are antagonistic positions. By rethinking early critical theory in light of discussions of ''nonideal'' alternatives to the ideal theories of liberal egalitarian thinkers, I argue that the Frankfurt School salvaged the prospects of emancipation precisely due to their view from the ''Grand Hotel Abyss.'' Through their gloomy reply to Marx in nonideal conditions, the Frankfurt School's negative views paradoxically preserved the possibility for historical alternatives and serve two functions for social theory today: (1) to help bring the causes of injustice to consciousness and (2) to preserve a messianic hope.

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“…'), 93 whichwe recallposited dreams as 'second sight … a faculty of intuitive perception which has been shown to be independent of the external impress on the senses' which is to say, a simulation from within. 94 And to date, reading opera plots and stage directions in terms of the virtuality of computer games has found traction in the realm of game theory more than in media simulation. 95 Attempts have nevertheless been made to adapt Wagner's works themselves to the meta-language of new media.…”

Section: Delivery Technologiesmentioning

confidence: 99%

Facing Digital Realities: Where Media Do Not Mix

Trippett¹

2014

OPR

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Wagner's vaunted model of artistic synthesis persists in scholarly assessments of his work. But at its centre, the composer argued that the media of voice and orchestra do not mix: they retain their identities as separate channels of sound that can neither duplicate nor substitute for one another. Taking as a starting point Wagner's claims for the nonadaptability of media, this article addresses the adaptation of Wagner's music to the modern digital technologies of HD cinema and video game. Drawing on a wide circle of writers, from Schiller and Žižek to Bakhtin, Augé, Baudrillard and second-generation media theorists, it interrogates the concept of 'reality' within live acoustic performance, both historically, as a discursive concept, and technologically, via the sensory realism of digital simulcasting and telepresence. The philosophical opposition of appearance and reality fails when reality is defined by the intimate simulation of a sensory event as it is registered on the body. And by contrasting the traditions of high fidelity in (classical) sound recording with that of rendering sound in cinema, I suggest ways in which unmixable media appear to have an afterlife in modern technologies. This raises questions -in a post-Benjamin, post-McLuhan contextabout our definition of 'liveness', the concept of authenticity within mediatised and acoustic sounds, and our vulnerability to the technological effects of media.Technologies are artificial, but … artificiality is natural to humans. (Walter Ong) 1 Wagner and WirklichkeitThe rhetoric of synthesis is hard to get away from in writings about Wagner. As a principle of logic, its force -derived in part from classical dialectics, a discursive mode -can be read and applied broadly. It has shaped discussion of artistic media, as per Jack Stein's interest in the all-pervasive infinity of the Gesamtkunstwerk, 2 and of sexual difference, as per Jean-Jacques Nattiez's critique of telescoped gender as an aesthetic platform. 3 It has been applied to metaphysics, as per Bryan Magee's reading of Schopenhauer as the lynchpin for Wagner's music-theatre-philosophy triumvirate. 4 And it underpins Adorno's reading of Wagnerian sonority as a concealment (or synthetic unification) of the division of mental and physical labour in the composer's orchestration, aligning it with the commodity: 'sound from which the traces of its production have been removed '. 5 I am most grateful to Justin Williams for offering thoughts on an earlier version of this article. 1

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Arthur Schopenhauer: Parerga and Paralipomena: Short Philosophical Essays, Vol. 2

Cited by 21 publications

References 0 publications

Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre

Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre

A defense of the “Grand Hotel Abyss”

Facing Digital Realities: Where Media Do Not Mix

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