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Introduction-to-antiphilosophyst. Introduction-to- antiphilosophyst. Introduction to Antiphilosophy. by Boris Groys. Introduction to Antiphilosophy has 45 ratings and 0 reviews. Philosophy is traditionally understood as the search for universal truths, and philosophers. Introduction to Antiphilosophy by Boris Groys, Global Distinguished Professor of Russian and Slavic Studies at New York University, and also a Professor of.

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The Antiphillsophy critic might therefore prefer ostensibly apolitical work in which these contradictions rage untreated. Apparently a summons to politics, it is in effect an evasion. Jake rated it liked it Jun 14, Anti-philosophy, for him, begins with Marx and Kierkegaard, and.

Published March 15th by Verso first published January 1st Groys never borie Adorno, a striking omission in light of his temper and range: His continual making and unmaking of conceptual unities and oppositions belongs to a German dialectical tradition.

Claussm rated it it was amazing Sep 26, Trivia About Introduction to A By putting Bakhtin back into his Soviet context and looking closely at Bakhtin’s reading of Nietzsche, Groys offers a startling alternative: At the heart of his work is a desire for contemporary art and criticism somehow to give up the autonomy of the royal fool — whose expressive freedom derives from practical superfluousness — for something more like the autonomy of the ruler, free because in command.

The connection between this leveling of objects and disciplinary pluralism is clear: Yet there is no Hegelian or Adornian heaviness in someone who can write: If you close only one eye, the image could as easily be product upon product lavished on the feet of Capital.

Niki Palmen rated it liked it Dec 02, Books by Boris Groys.

Introduction to Antiphilosophy | Mute

Boris Efimovich Groys born 19 March is an art critic, media theorist, and philosopher. Groys even manages not to quote one of Benjamin’s most famous observations: Today he teaches art theory in Karlsruhe and New York City.


If the likes of Derrida, for example, were consistent in their philosophical nihilism, then they would also renounce their own heroic status as master thinkers and, indeed, the practice itself of the discipline as a transcendental, hegemonic discourse whether this is fair, at least to Derrida, is a moot point. Scintilla rated it liked it Jul 08, A historical materialist aesthetics sees in art the distorted reflection of social relations past, present and emerging. Mat rated it it was amazing May 05, In Art PowerGroys mocks the solemn ideological vagueness of so many academic essays, exhibition catalogues and wall captions: Just a moment while we sign you in to your Goodreads account.

Moreover, the temporality of this choice to go on philosophizing about horis impossibility of philosophy or antiphiosophy perform that end by giving up the discipline introduces another contrast between the earlier, more consistent forms of modern anti-philosophy and its postmodern, inconsistent and one suspects too, for Groys, disingenuous forms.

This stems from its pluralist, relativist stance: Other essays, particularly when he writes on the internet and Marshall McLuhan, display both insight and naivety.

But a sense that the interest of art derives above all from its unconscious embodiment of history is widespread among academic critics, most of whom share with the general public an aversion to expressly political work.

Adorno meant to dedicate Aesthetic Theory to Beckett, and the few other modernists he singles out for praise Kafka, Schoenberg and Celan among them give off some of the same feeling of emotional irremediability and formal intransigence.


Perhaps this is not so incredible after all. Sartre, Barthes, Levinas, Derrida, Baudrillard et al. This is a pluralism that, Groys argues, effectively deconstructs any difference between essential and non-essential. Production of philosophy can be interpreted as an extraordinary, mysterious, ‘poetic’ process that is accessible only to a chosen few. In practice, discussions of work by radicals in capitalist societies or by cultural revolutionaries in socialist ones have succumbed too easily to the idealism that historical materialism sought to overturn, as if the conscious politics of an Eisenstein, a Brecht or a Paul Robeson could secure the meaning and effect of his art.


Groys writes beautifully about Walter Benjamin, and again proposes an eyebrow-raising idea: The former treats Derrida’s concern with the archive in his essays on apocalyptic thought — ‘Of an Apocalyptic Tone Newly adopted in Philosophy’, and ‘No Apocalypse, Not Now’ wherein Derrida is said to fictionalize ‘everything’ p.

Thanks for telling us about the problem. Indeed, Deleuze is a very poor exemplar of postmodernism, being a champion of both philosophy in general and metaphysics in particular, and so especially opposed to many of the anti-philosophies professed by both analytic and continental thought.

Introduction to Antiphilosophy by Boris Groys – review

Marxism has thrived as a way of thinking about art and literature, especially at times — the s or the s — when Marxist economic and political thinking has gone into retreat. It was a brave as well as a controversial volume, and it was particularly astute in reading socialist realism, both plastic and literary, not as a repudiation of the supremacist art of Malevich or the futurism of Mayakovsky, but as a continuation of the desire to create a politically feasible and genuinely populist avant garde, albeit within the now totalitarian strictures of Stalinism.

But the sting is the end of the essay. Although I would recommend it to anyone already interested in critical theory and the avant garde, it is not quite the book I thought it was.