#clara lukacs

[mianonnadellozen]

(...)

Clara Lukaćs, in definitiva, è apparenza pura e non fa che credere all’altro che è lui il soggetto del desiderio lei non ci crede, ci gioca, si pone in gioco, provoca e delude il desiderio, che come soggetto, infine, non riuscirà neppure a sapere che cosa gli stia succedendo, la bellezza che seduce è esoterica e rituale, sta nel segreto creato dalla levità dei segni dell’artificio, la parure è tra il rito, la bardatura, la maschera, il disegno, la cerimonia, la frattalizzazione, del viso e del corpo, tra l’asimmetria che attiene al dispositivo di alleanza e la simmetria artificiale del dispositivo di sessualità, tanto che la Strolaga librata nell’esilarante sforzo della presa sul pesce risollevandosi aerodinamica alla luna strida nella notte non per la compatibilità con la terra ma contro quel cadere, quel dover cadere, contro la presunzione terribile dell’acqua che sprizza gli occhi dal capo galleggiando via i polmoni fin sul becco che li stringe come pesci guizzanti espellendo ogni organo ogni escremento rivoltando il volatile come l’indiano vede eguale alla morte l’ambiente che si offre in cambio dell’essere nello spazio nero alcuni tragitti ferroviari sopra le Adirondacks Clara Lukaćs in quella gran bella residenza cui nulla mancava con le camere da letto ognuna con veranda sopra il Lago poteva essere benissimo Maria Sharapova per come s’incazza con il poeta a cui dice “Ma che gioco è mai questo se non si può colpire la palla con quanta più forza si può!”, oh Dio, era lei, Clara allora, ecco chi era, la ragazza del treno, nessun dubbio in proposito, due volte ormai il vederla m’aveva ferito il cuore.

[gattungs-wesen]

some marxists rarely or never drawn

[weil-weil-lautre]

hey i want to learn more about communism and political theory and that sort of thing and i was wondering if you had any recommended articles/books for beginners bc i'm feeling pretty overwhelmed and don't know where to start haha

I guess it depends how how much of a “beginner” you are. Unfortunately, a lot of the marx/political theory stuff is either dense, inaccessible, extremely long, or a combination of the three. On the other hand, I generally do not recommend secondary sources until after you have read some of the original stuff yourself (if you are interested, though, I could recommend a few newer things like Liedman’s new theoretical-biography of Marx, A World to Win, Michael Heinrich’s Introduction to the Three Volumes of Capital, and David Harvey’s intros to Capital vol I and II., as well as David McLellan’s biogrpahy of Marx)

 If I were to put some basic stuff on a syllabus, the first thing would be Marx’s 1844 Manuscripts and Value, Price, and Profit. From there, really, the choice is yours on how you want to proceed. You could, for example, continue with Marx: The manifesto, Capital, Grundrisse, etc.; or you could go into intellectual background, like Aristotle and Hegel; or you can read the turn-of-the century revolutionaries like Rosa Luxemburg and Clara Zetkin and Georg Lukacs; or you could read people in the Frankfurt school; or you can read French marxism like Sartre and Althusser; or you can go the decolonial route; you can read Soviet literature like Isaac Babel, Maxim Gorky, Vasily Grossman, and Victor Serge; you can go into the history of actually existing socialism with books by, say, Richard Overy, Anne Applebaum, Orlando Figes, Tariq Ali, and so on - this is not to say these books are perfect or without strong ideological bias, but it is good to get the history and see for yourself. Something I would also recommend is reading things by the non-communist left (but not of the “post-Marx” variety), like Simone Weil, Maurice Merleau-Ponty, Simone de Beauvoir, Bertrand Russell, Karl Korsch. I also like to read people’s letters. I’m reading the letters of Rosa Luxemburg right now and it does help see a kind of “vision” she had as a thinker without the often intimidating theoretical density in her books.

Finally, there are a ton of videos online about Marx and the left that you can watch (at 1.5 speed!!). I hope that helps!

[leyhejuhyunghan]

Carl Jacob Christoph Burckhardt (Swiss, 1818–1897), The Civilization of the Renaissance in Italy (1860), Easter (Ostern), The problem of Resurrection (Auferstehung, Wiederbelebung) and Kultur, hr-Sinfonieorchester - Frankfurt Radio Symphony Johannes Brahms (German, 1833–1897) A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) 1865-1868

Carl Jacob Christoph Burckhardt (Swiss, 1818–1897), The Civilization of the Renaissance in Italy (1860), Easter (Ostern), The problem of Resurrection (Auferstehung, Wiederbelebung) and Kultur, hr-Sinfonieorchester - Frankfurt Radio Symphony Johannes Brahms (German, 1833–1897) A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) 1865-1868

https://blog.naver.com/artnouveau19/222297528480 Jacob Burckhardt

Carl Jacob Christoph Burckhardt (25 May 1818 – 8 August 1897) was a Swiss historian of art and culture and an influential figure in the historiography of both fields. He is known as one of the major progenitors of cultural history.[1] Sigfried Giedion described Burckhardt's achievement in the following terms: "The great discoverer of the age of the Renaissance, he first showed how a period should be treated in its entirety, with regard not only for its painting, sculpture and architecture, but for the social institutions of its daily life as well."[2]

His best known work is The Civilization of the Renaissance in Italy (1860). https://en.wikipedia.org/wiki/Jacob_Burckhardt

Work[edit]

Burckhardt's historical writings did much to establish the importance of art in the study of history; indeed, he was one of the "founding fathers of art history" but also one of the original creators of cultural history. Contra John Lukacs, who has argued that Burckhardt represents one of the first historians to rise above the narrow 19th-century notion that "history is past politics and politics current history,"[5] Lionel Gossman claims that in stressing the importance of art, literature, and architecture as a primary source for the study of history, Burckhardt (in common with later Dutch cultural historian Johan Huizinga) saw himself as working in the tradition of the French romantic historian Jules Michelet.[6] Burckhardt's unsystematic approach to history was strongly opposed to the interpretations of Hegelianism, which was popular at the time;[citation needed] economism as an interpretation of history;[citation needed] and positivism, which had come to dominate scientific discourses (including the discourse of the social sciences).[citation needed]

In 1838, Burckhardt made his first journey to Italy and published his first important article, "Bemerkungen über schweizerische Kathedralen" ("Remarks about Swiss Cathedrals"). Burckhardt delivered a series of lectures at the University of Basel, which were published in 1943 by Pantheon Books Inc., under the title Force and Freedom: An Interpretation of History by Jacob Burckhardt. In 1847, he brought out new editions of Kugler's two great works, Geschichte der Malerei and Kunstgeschichte, and in 1853, he published his own work, Die Zeit Constantins des Grossen ("The Age of Constantine the Great"). He spent the greater part of the years 1853 and 1854 in Italy, collecting material for his 1855 Der Cicerone: Eine Anleitung zum Genuss der Kunstwerke Italiens (7th German edition, 1899) ("The Cicerone: or, Art-guide to painting in Italy. For the use of travellers" Translated into English by A. H. Clough in 1873), also dedicated to Kugler. The work, "the finest travel guide that has ever been written"[7] which covered sculpture and architecture, and painting, became an indispensable guide to the art traveller in Italy.

About half of the original edition was devoted to the art of the Renaissance. This was followed by the two books for which Burckhardt is best known today, his 1860 Die Cultur der Renaissance in Italien ("The Civilization of the Renaissance in Italy") (English translation, by S. G. C. Middlemore, in 2 vols., London, 1878), and his 1867 Geschichte der Renaissance in Italien ("The History of the Renaissance in Italy"). The Civilization of the Renaissance in Italy was the most influential interpretation of the Italian Renaissance in the 19th century and is still widely read.

The Civilization of the Renaissance in Italy The Civilization of the Renaissance in Italy (German: Die Cultur der Renaissance in Italien) is an 1860 work on the Italian Renaissance by Swiss historian Jacob Burckhardt. Together with his History of the Renaissance in Italy (Die Geschichte der Renaissance in Italien; 1867) it is counted among the classics of Renaissance historiography. An English translation was produced by S.G.C. Middlemore in two volumes, London 1878.

According to Denis Hay:

Burkhardt sought to capture and define the spirit of the age in all its main manifestations. For him ‘’Kultur’’ was the whole picture: politics, manners, religion...the character that animated the particular activities of a people in a given epoch, and of which pictures, buildings, social and political habits, literature, are the concrete expressions.[1]

Its scholarly judgements are considered to have been largely justified by subsequent research according to historians including Desmond Seward and art historians such as Kenneth Clark. The Civilization of the Renaissance in Italy is divided into six parts:

Part One: The State as a Work of Art

Part Two: The Development of the Individual

Part Three: The Revival of Antiquity

Part Four: The Discovery of the World and of Man

Part Five: Society and Festivals 6. Part Six: Morality and Religion

https://en.wikipedia.org/wiki/The_Civilization_of_the_Renaissance_in_Italy 야콥 부르크하이트

Jacob Burckhardt (Switzland, 1818 ~ 1897) https://blog.naver.com/artnouveau19/140127842136

hr-Sinfonieorchester - Frankfurt Radio Symphony posted a video to playlist Concert videos.

„Denn alles Fleisch, es ist wie Gras“ – Johannes Brahms, der heute vor 124 Jahren in seiner Wahlheimat Wien starb, vertonte diese Worte des Apostels Petrus in eindrücklicher Weise in seinem Hauptwerk „Ein deutsches Requiem“. Der großartige MDR-Rundfunkchor war 2019 unser musikalischer Partner bei dieser Aufführung unter der Leitung von David Zinman in der Alte Oper Frankfurt. https://www.facebook.com/hrsinfonieorchester/videos/433209091314486

Johannes Brahms (German: [joˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.

Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire.

Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. While some contemporaries found his music to be overly academic, his contribution and craftsmanship were admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Embedded within those structures are deeply romantic motifs. https://en.wikipedia.org/wiki/Johannes_Brahms A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language. https://en.wikipedia.org/wiki/A_German_Requiem_(Brahms)