Inhaltsangabe
Johann Georg Hamann (1730–1788) remains one of the most influential and yet least understood figures in the history of German thought and literature. His provocative style and relentless interrogation of the limits of language and writing have for centuries fascinated and frustrated thinkers ranging from Goethe and Hegel to Wittgenstein and Benjamin. In The Last Mas k Brian Alkire reapproaches Hamann through the lens of his final work Disrobing and Transfiguration (1786), revealing a writer attempting to understand, clarify, and defend “the entire fable” of his “little authorship” (which “is also a mask”), a project ultimately abandoned in exhaustion, ending his final manuscript with the words “etc. I can’t anymore―”
A meticulous examination of the handwritten manuscripts reveals a number of previously unknown dimensions to Hamann’s work, where theory and criticism become a form of theater and masquerade―in a theory of the virtual and virtual theory, a term used in an unpublished manuscript fragment to describe his own method. The Last Mask moves with Hamann from philology to theory, uncovering a restless and brutally antagonistic skeptic who senses a Dionysian frenzy at the heart of philosophy―with major implications for contemporary theories of power, desire, and virtuality.
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Über die Autorin bzw. den Autor
Brian Alkire is a research fellow in the Department of Comparative Literature at the University of Zurich, working on a project entitled Voices of Exhaustion: Form and Physiology in Kafka, Beckett, and Bernhard. He studied English, German, and Comparative Literature at the University of Michigan, the University of Freiburg, and the Humboldt University of Berlin. In the spring of 2021, he will be joining the Department of German at New York University.
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Paperback. Zustand: new. Paperback. Johann Georg Hamann (173088) remains one of the most influential and yet least understood figures in the history of German thought and literature. Throughout his life, he had major influence on figures as diverse as Goethe, Schiller, Kant, Hegel, Hoelderlin, Kierkegaard, and a host of others. Hamann is also one of the most difficult-to-read authors in the German language, writing in an ultracondensed, hyperallusive language for which he became infamousand which his detractors constantly used to dismiss him. Today, Hamann has been picked up by literary theorists as a precursor of the linguistic turn. The Last Mask focuses on Hamanns final work, Entkleidung und Verklaerung (1786), which was consciously conceived of as an Abschluss of his kleine Autorschaft and a final defense against his critics. Equally philological and theoretical, it identifies a number of previously unnoticed manuscript alterations that help answer some long-standing questions in Hamann scholarship as well as open new doors for inquiry. Importantly, the manuscripts show that Hamann is one of the earliest theorists of the virtual in our sense of the word today, using the word virtualiter to describe his own theory. He links this theory with the concept of the mask or disguise, and conceives of texts as fabrics or textiles composed of threads and strings. The philological focus is on Hamanns understanding of intertextuality, and on the basis of his dominant string images his notion of virtuality is brought into conversation with Deleuzes idea of a plane of immanence through the image of a skein of immanence, a knotted bundle of thread which solidifies into a three-dimensional virtual spacea new perspective in contemporary discussions surrounding the nature of virtuality. Hamanns Theater of the Grotesque. An examination of the final work of a key, yet little understood, German thinker Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Bestandsnummer des Verkäufers 9783035803709
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Paperback. Zustand: New. Johann Georg Hamann (1730-88) remains one of the most influential and yet least understood figures in the history of German thought and literature. Throughout his life, he had major influence on figures as diverse as Goethe, Schiller, Kant, Hegel, Hölderlin, Kierkegaard, and a host of others. Hamann is also one of the most difficult-to-read authors in the German language, writing in an ultracondensed, hyperallusive language for which he became infamous-and which his detractors constantly used to dismiss him. Today, Hamann has been picked up by literary theorists as a precursor of the linguistic turn. The Last Mask focuses on Hamann's final work, Entkleidung und Verklärung (1786), which was consciously conceived of as an "Abschluss" of his "kleine Autorschaft" and a final defense against his critics. Equally philological and theoretical, it identifies a number of previously unnoticed manuscript alterations that help answer some long-standing questions in Hamann scholarship as well as open new doors for inquiry. Importantly, the manuscripts show that Hamann is one of the earliest theorists of the virtual in our sense of the word today, using the word "virtualiter" to describe his own theory. He links this theory with the concept of the mask or disguise, and conceives of texts as fabrics or textiles composed of threads and strings. The philological focus is on Hamann's understanding of intertextuality, and on the basis of his dominant string images his notion of virtuality is brought into conversation with Deleuze's idea of a plane of immanence through the image of a skein of immanence, a knotted bundle of thread which solidifies into a three-dimensional virtual space-a new perspective in contemporary discussions surrounding the nature of virtuality. Bestandsnummer des Verkäufers LU-9783035803709
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