By Thomas Harrison
The yr 1910 marks an extraordinary, and mostly unrecognized, juncture in Western background. during this perceptive interdisciplinary research, Thomas Harrison addresses the intense highbrow success of the time. targeting the cultural weather of heart Europe and paying specific cognizance to the lifestyles and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of alternative discourses--philosophy, literature, sociology, track, and portray. His superbly balanced and deeply educated research offers a brand new, wider, and extra formidable definition of expressionism and indicates the importance of this move in shaping the inventive and highbrow temper of the age.1910 probes the recurrent subject matters and obsessions within the paintings of intellectuals as various as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Luk?cs, Georg Simmel, Dino Campana, and Arnold Schoenberg. including Michelstaedter, who devoted suicide in 1910 on the age of 23, those thinkers shared the fundamental matters of expressionism: a feeling of irresolvable clash in human life, the philosophical prestige of dying, and a quest for the character of human subjectivity. Expressionism, Harrison argues provocatively, used to be a final, determined try out by means of the intelligentsia to shield probably the most venerable assumptions of eu tradition. This ideological desperation, he claims, was once greater than a non secular prelude to global struggle I: it used to be an unheeded, prophetic critique.
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Extra info for 1910: The Emancipation of Dissonance
A weight hangs on a hook and in hanging suffers that it cannot descend: it cannot get off the hook for, being a weight, it pends and in pending depends. —But it is not happy to stop at any spot that it reaches and would like to keep descending, for the next ― 71 ― spot is even lower than the one it occupies at any moment. And no future spot will ever be one that will please it and be necessary to its life, so long as a lower one awaits it . . — For if everything were finished at a given point, and if at a single point it could possess the infinite descent of the infinite future—at that point it would no longer be what it is: a weight .
Will and passion—empty words. 37) Passion and will are entirely in the joy of today, and entirely in the pain of the present. 38) I am desperately joyful and hopelessly sad. I believe violently in Hell and am de facto certain of a Paradise. 39) For my life is not constructed on the basis of a project, piece by piece, like buildings made of stone, and I run toward no goal like a horse to the finish. I have no future for I have no past. Lacking memory, I even lack hope. 40) My desire is the blaze of a furnace, and my annihilation like the abyss of the night.
Kandinsky 1912a: 256–257) There is no question in Kandinsky's mind: He intends to promote the second moment, the construction of the spiritual life. This is what he identifies as the avenue to unimagined new meanings in art and knowledge. And yet, at this stage of his career he cannot separate the construction from the destruction to which it is tied. However much theosophists and cultural philosophers might have called out for spiritual regeneration and self-realization at the turn of the century, Kandinsky considers no rebirth to be possible outside the world of hard and fateful constrictions.
1910: The Emancipation of Dissonance by Thomas Harrison