By Thomas Harrison
The 12 months 1910 marks an astounding, and principally unrecognized, juncture in Western background. during this perceptive interdisciplinary research, Thomas Harrison addresses the extreme highbrow fulfillment of the time. targeting the cultural weather of heart Europe and paying specific awareness to the lifestyles and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of alternative discourses--philosophy, literature, sociology, song, and portray. His superbly balanced and deeply expert learn offers a brand new, wider, and extra bold definition of expressionism and indicates the importance of this move in shaping the inventive and highbrow temper of the age.1910 probes the recurrent issues 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 basic matters of expressionism: a feeling of irresolvable clash in human life, the philosophical prestige of loss of life, and a quest for the character of human subjectivity. Expressionism, Harrison argues provocatively, was once a final, determined try out via the intelligentsia to shield the most venerable assumptions of ecu tradition. This ideological desperation, he claims, was once greater than a non secular prelude to international battle I: it used to be an unheeded, prophetic critique.
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Extra info for 1910: The Emancipation of Dissonance
To make their own arguments persuasive, they illustrate them with images, figures, and legends. For example, Buber likens the sense of reality which arises from dissonant but unified life-experience to the "heightened meaning" of a word in a poem (Buber 1913a: 67). In a poem, a word means more than it says and more than any other word can say about it. If ever there was a place where rhetoric is transmuted into persuasion, or dissonance into harmony, or depths conveyed by a surface, it is here, in a work of art.
In the presence of others each one of these "subjects" is instantly transmuted into an object, a thing for those others to manipulate as they will. "Everything has insofar as it is had " (Michelstaedter 1910: 44). Nothing has any being except "in relation to a consciousness ," namely, the consciousness of someone or something else for which this subject is not itself, but an object (Michelstaedter 1910: 45). " Knowledge, by consequence, is an ingrained error, a self-interested conviction of an individual viewing the world from some particular situation of time and space.
Experience is either the scene of a losing battle or the occasion for a vigorous flight, as in Kirchner's Bareback Rider of 1912. Nolde cultivates both extremes, from the exuberant Dance around the Golden Calf (1910) to martyric subjects like Apostle Head V (1909) and the Life of Christ cycle (1912). No less than that of Kandinsky and Marc, this art expresses the efforts of a spirit to reach expression—in a gesture or a grimace, in a diffident or a mystified glance, in a signal of unspeakable feeling or, as in Kokoschka's Portrait of Auguste Forel (1909), the radiant intellectuality of a face that ignores its own decrepitude.
1910: The Emancipation of Dissonance by Thomas Harrison