By Gerhard Richter
Gerhard Richter's groundbreaking learn argues that the concept that of "afterness" is a key determine within the idea and aesthetics of modernity. It pursues questions akin 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 in truth tacitly perpetuate its predecessor on account of its inevitable indebtedness to the phrases and prerequisites of that from which it claims to have departed? certainly, isn't the very act of breaking with, after which following upon, a manner of retroactively developing and fortifying that from which the holiday that set the circulation of following into movement had occurred?
The publication explores the idea that and circulate of afterness as a privileged but uncanny class via shut readings of writers akin to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It exhibits how the vexed techniques of afterness, following, and coming after shed new gentle on a constellation of contemporary preoccupations, together with own and cultural reminiscence, translation, images, desire, and the historic and conceptual specificity of what has been termed "after Auschwitz." The study's a number of analyses—across a heterogeneous selection of sleek writers and thinkers, varied 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 by means of the 'after.'" As Richter's tricky research demonstrates, a lot hinges on our interpretation of the "after." in the end, our so much primary assumptions referring to sleek aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
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Extra resources for Afterness: Figures of Following in Modern Thought and Aesthetics
In the context of his deduction of pure aesthetic judgments toward the end of paragraph 32, Kant elaborates the “ﬁrst peculiarity of the judgment of taste” in relation to the distinction between Nachahmung (copy or imitation) and Nachfolge (succession or following).
2 Afterness and Critique A Paradigmatic Case Few, if any, concepts have enjoyed as much authority and sustained engagement over the past two hundred years of Western thought as the concept of critique or criticism (Kritik). Inasmuch as the gesture of critique presupposes a distancing of oneself from one’s object of scrutiny, critique can be regarded as a textbook example of afterness. To be sure, there are forms of critique and criticism whose primary purpose is to call into consciousness, or build on, the objects to which their gestures fasten.
Analyzing Derrida’s innovative reworking of the two Hegelian concepts of memory for which there is only one English term, Gedächtnis (a conceptual, thought-based form of memory) and Erinnerung (a form of interiorizing memory that is irreducible to conceptual recall), this chapter shows how instances of historical and personal memory illustrate an afterness that vexingly complicates the historical relationship of past to present, of recollection to futurity. Engaging Derrida’s language of mourning as it emerges in several of his texts, the chapter suggests that what he calls the “ﬁction of anteriority”—that is, the belief that something in the past was once simply present-to-itself as a transparent and accessible category of insight—sheds important light on an entire modern preoccupation with containing the specters of following and its inevitable afterness.
Afterness: Figures of Following in Modern Thought and Aesthetics by Gerhard Richter