By Marshall Berman
"A effervescent caldron of principles . . . Enlightening and valuable." —Mervyn Jones, New Statesman.
The political and social revolutions of the 19th century, the pivotal writings of Goethe, Marx, Dostoevsky, and others, and the construction of recent environments to exchange the old—all have thrust us right into a smooth international of contradictions and ambiguities. during this attention-grabbing ebook, Marshall Berman examines the conflict of periods, histories, and cultures, and ponders our clients for coming to phrases with the connection among a freeing social and philosophical idealism and a posh, bureaucratic materialism.
From a reinterpretation of Karl Marx to an incisive attention of the influence of Robert Moses on glossy city residing, Berman charts the growth of the twentieth-century event. He concludes that version to continuous flux is attainable and that therein lies our desire for attaining a very glossy society.
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Extra resources for All That Is Solid Melts into Air: The Experience of Modernity
And yet, it seems to me, we don't know how to use our modernism; we have missed or broken the connection between our culture and our lives. jackson Pollock imagined his drip paintings as forests in which spectators might lose (and, of course, find) themselves; but we have mostly lost the art of putting ourselves in the picture, of recognizing ourselves as participants and protagonists in the art and thought of our time. Our century has nourished a spectacular modern art; but we seem to have forgotten how to grasp the mod ern life from which this art springs.
Faust begins in an epoch whose thought and sensibility are mod ern in a way that twentieth-century readers can recognize at once, but whose material and social conditions are still medieval; the work ends in the midst of the spiritual and material upheavals of an industrial revolution. It starts in an intellectual's lonely room, in an abstracted and isolated realm of thought; it ends in the midst of a far-reaching realm of production and exchange, ruled by giant corporate bodies and complex organizations, which Faust's thought is helping to create, and which are enabling him to create more.
18 The modern work of art was said to "molest us with . 19 It seeks the violent overthrow of all our values, and cares little about recon structing the worlds it destroys. 20 This obviously tells part of the truth, but it leaves far too much out. It leaves out the great romance of construction, a crucial force in modernism from Carlyle and Marx to Tatlin and Calder, Le Corbusier and Frank Lloyd Wright, Mark di Suvero and Robert Smithson. It leaves out all the affirmative and life sustaining force that in the greatest modernists is always inter woven with assault and revolt: the erotic joy, natural beauty and human tenderness in D.
All That Is Solid Melts into Air: The Experience of Modernity by Marshall Berman