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- W2592040596 abstract "According to a postmodern consensus, Romanticism is the movement that introduced fundamental structures of a rhetoric of modernity. The autonomy of art, the authenticity of its genius, finally the alterity and originality of artistic expression towards all of its content - all this came about once Romanticism abandoned the teleology of mimesis, demanding an ever more perfect representation of an idealized world in media ever more adequately used. However, the term modernity was neither used particularly often during the romantic period, nor was it theoretically elucidated in a new way. It is only in Baudelaire’s art criticism that modernity became the key word for a given present that would reveal its aesthetic value only to the future. Parallel to the romantic turn against the concept of an ever progressing mimesis, historicism had accepted that also eras previously considered as periods of transition or decay are meaningful in themselves. This concept of an epoch, of its unity and sense, is essentially aesthetic. Baudelaire, in his rhetoric of modernity, reads the present equally as revealing itself as an epoch in its own right, but only in the future. Apollinaire translates the Baudelairian rhetoric of modernity into the hyperbolic language of avant-garde art. For him, a “fourth” dimension translating the present into the future can reveal itself already in the experience of an art work by its contemporaries: the New, for him, is the ungraspable content of an ongoing revelation, of a present finding itself in an unending quest for eternity." @default.
- W2592040596 created "2017-03-16" @default.
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- W2592040596 date "2017-03-06" @default.
- W2592040596 modified "2023-09-25" @default.
- W2592040596 title "31. Die Gegenwart unter dem Versprechen künftiger Epiphanie. Baudelaire und Apollinaire über die Moderne als sich selbst unbekannte Epoche" @default.
- W2592040596 doi "https://doi.org/10.1515/9783110331493-034" @default.
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