The Aesthetics Of Resistance Volume Ii

A major literary event, the publication of the second volume of Peter Weiss's three-volume novel The Aesthetics of Resistance makes one of the towering works of twentieth-century German literature available to English-speaking readers for the first time. The crowning achievement of Peter Weiss, the internationally renowned writer best known for his play Marat/Sade, The Aesthetics of Resistance spans the period from the late 1930s to World War II, dramatizing antifascist resistance and the rise and fall of proletarian political parties in Europe. Volume II, initially published in 1978, opens with the unnamed narrator in Paris after having retreated from the front lines of the Spanish Civil War. From there, he moves on to Stockholm, where he works in a factory, becomes involved with the Communist Party, and meets Bertolt Brecht. Featuring the narrator's extended meditations on paintings, sculpture, and literature, the novel teems with characters, almost all of whom are based on historical figures. Throughout, the narrator explores the affinity between political resistance and art—the connection at the heart of Weiss's novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.

A major literary event, the publication of this masterly translation makes one of the towering works of twentieth-century German literature available to English-speaking readers for the first time. The three-volume novel The Aesthetics of Resistance is the crowning achievement of Peter Weiss, the internationally renowned dramatist best known for his play Marat/Sade. The first volume, presented here, was initially published in Germany in 1975; the third and final volume appeared in 1981, just six months before Weiss’s death. Spanning the period from the late 1930s to World War II, this historical novel dramatizes antifascist resistance and the rise and fall of proletarian political parties in Europe. Living in Berlin in 1937, the unnamed narrator and his peers—sixteen- and seventeen-year-old working-class students—seek ways to express their hatred for the Nazi regime. They meet in museums and galleries, and in their discussions they explore the affinity between political resistance and art, the connection at the heart of Weiss’s novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The novel includes extended meditations on paintings, sculpture, and literature. Moving from the Berlin underground to the front lines of the Spanish Civil War and on to other parts of Europe, the story teems with characters, almost all of whom are based on historical figures. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.

The history of the last fifty (or 100 or 150) years has been accompanied by a constant flow of statements, of practices, of declarations of dissatisfaction with regard to prevailing conditions. When something is able to reach from the margins of society into its very center - something mostly unorganized and unruly, sometimes violent, rarely controllable - it forges ahead in the form of a protest. This takes place in (real or virtual) spaces and is accomplished by (likewise real or virtual) bodies. The spaces and the bodies to which the protest relates are the spaces of politics and society. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control. From a position of powerlessness, irony, subversion, and provocation are its tools for pricking small but palpable pinholes into the controlling system of rule. This book presents and reflects on present and past forms of protest and looks at marginalized communities? practices of resistance from a wide variety of perspectives.

A major literary event, the publication of the second volume of Peter Weiss's three-volume novel The Aesthetics of Resistance makes one of the towering works of twentieth-century German literature available to English-speaking readers for the first time. The crowning achievement of Peter Weiss, the internationally renowned writer best known for his play Marat/Sade, The Aesthetics of Resistance spans the period from the late 1930s to World War II, dramatizing antifascist resistance and the rise and fall of proletarian political parties in Europe. Volume II, initially published in 1978, opens with the unnamed narrator in Paris after having retreated from the front lines of the Spanish Civil War. From there, he moves on to Stockholm, where he works in a factory, becomes involved with the Communist Party, and meets Bertolt Brecht. Featuring the narrator's extended meditations on paintings, sculpture, and literature, the novel teems with characters, almost all of whom are based on historical figures. Throughout, the narrator explores the affinity between political resistance and art—the connection at the heart of Weiss's novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.

This book illuminates the various ways in which Charles Mingus's music interacted with the sociocultural movements of the late 1950s and early 1960s. It explores the artist as a pioneer of an idiomatic aesthetics of resistance in jazz music that is rooted in African American traditions and is much more than merely a form of protest. Mingus's music presents a continuous challenge to an unimaginative, streamlined culture built on racism and conformity by openly protesting against it, by questioning its historical foundations, and by exemplifying its countercultural antithesis. (Series: MasteRResearch - Vol. 4)

The collection comprises contributions from leading artist-theorists in the fields of necropolitics and tactical media, and from increasingly influential scholars of biomediality and urban performativity

Pornography keeps getting more extreme. Manufacturers, defenders and consumers of porn rely on a mix of wilful ignorance and bad faith to avoid serious discussion. When we do talk about violence against women in the porn world, the debate all too often becomes technical, complicated by legalities and outrage. But what are the moral and psychological consequences of the mercantilization of abuse? In this studied and ruthless examination of the place of pornography in contemporary life, translator and critic Adrian Nathan West treads dangerous literary and social ground, transcending cliches about free expression and the demands of the market to look at the moral discomfort of violent pornography from the perspective of the viewer. Collapsing distinctions between novel, memoir, and essay, this book will not make for light reading. But at its core is an extraordinarily brave and honest concern for the women and men who have been hurt in the name of sexual gratification.

Organizational aesthetics, both as a body of theory and a method of inquiry, is a rapidly expanding area of the organizational sciences. The Aesthetics of Organization accessibly draws key contributions delineating the emerging parameters of the field. It explains the significance of concepts devised by postmodern thinkers, through which emerge meaning and order in organizations. Methodological problems associated with investigations of the aesthetic are also highlighted so the reader can identify and understand the importance of recent ideas on vision, perspective and periphery for learning in organizations. Through the contributions of leading international theorists, organizational aesthetics is defined in greater historical and theoretical depth, with a broad conceptual and practical range which academics will find invaluable.