By Andreas Huyssen

"One of the main finished and clever postmodern critics of artwork and literature, Huyssen collects right here a sequence of his essays on pomo... " ―Village Voice Literary Supplement

"... his paintings is still alert to the tricky dating acquiring among marxisms and poststructuralisms." ―American Literary History

"... difficult and astute." ―World Literature Today

"Huyssen’s level-headed account of this debatable constellation of severe voices brings welcome explanation to today’s murky haze of cultural dialogue and proves definitively that observation from the culture of the German Left has an fundamental position to play in modern criticism." ―The German Quarterly

"... we are going to definitely have, after interpreting this e-book, a deeper realizing of the forces that experience led as much as the current and of the chances nonetheless open to us." ―Critical Texts

"... a wealthy, multifaceted study." ―The Year’s paintings in English Studies

Huyssen argues that postmodernism can't be considered as a thorough holiday with the prior, because it is deeply indebted to that different development in the tradition of modernity―the historic avant-garde.

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After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)

"One of the main entire and clever postmodern critics of artwork and literature, Huyssen collects the following a chain of his essays on pomo. .. " ―Village Voice Literary Supplement". .. his paintings is still alert to the frustrating dating acquiring among marxisms and poststructuralisms. " ―American Literary History".

Extra resources for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)

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20 Even though Adorno's dialectical view Adorno in Reverse 25 of the relationship between modernism and mass culture may ultimately not be dialectical enough, it warrants repeating-in face of the often voiced mandarin reproach-that he is miles apart from the evaluative schemes of conservative mass culture critics and does not have much in common with the happy-go-lucky apologists of the triumph of modernism. Nevertheless, as I will argue in more detail later on, the problematic nature of Adorno's culture industry theory results precisely from the fact that it functioned, in the Derridean sense, as a supplement to his theory of modernism.

Of course, Baudelaire's poetry, Manet's and Monet's painting, Zola's or Fontane's novels and Schnitzler's plays, to name but a few examples, provide us with powerful visions of modern life, as it used to be called, and critics have focused on a number of social types symptomatic for the age, such as the prostitute and the dandy, the flaneur, the bohemian and the collector. 7 Clearly, Adorno and Horkheimer's concept of the culture industry does not yield much with regard to specific historical and textual analyses of 19th-century mass culture.

If reificati0il of musical and dramatic time is one major element of Adorno's account, then subjectivistic association and ambiguity of musical meaning is the other side of the same coin. What is at stake here is that whieh Wagner's contemporaries described as nervousness and hypersensitivity, what Nietzsche called decadence, and what we might call Wagner's modernity. "~3 Therefore Adorno calls Wagner an "impressionist malgre lui" and relates his backwardness to the backwardness of economic and aesthetic developments in mid-lgthcentury Germany.

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