The book The possible and the marginal (Mimesis, Milan 2006), divided into five chapters, discusses the artistic, literary, and aesthetical utopian ideas of Ernst Bloch, locating them in their historical, political, and socio-cultural context. The first chapter describes the cultural milieu of Heidelberg at the beginning of the XX Century, paying particular attention to the multicultural aspects of Bloch’s philosophy and aesthetics and to the cultural debate in the years before World War I (George, Lukacs, Simmel, Weber). The second chapter focuses on Bloch's ideas on the ekphrasis, and especially the primitive culture of ornaments, comparing them with those of art historian Carl Einstein. The third chapter is devoted to Bloch's aesthetics, and especially to his implicit dialogue with Alois Riegl and Wilhelm Worringer (the theme of the Kunstwollen in Geist der Utopie, 1918 and 1921) and to the debate on Expressionism. The fourth chapter explores Bloch’s Utopia and his poetics of the instant of time (Jetzt-Zeit), as embodied in Expressionisms and Surrealism in the arts and in literature (with some references to film-making): Robert Musil, De Chirico, Max Ernst. The fifth and last chapter analyzes Bloch's literary experiments, reading Bloch's short stories on the basis of the ideas expressed by Bloch in Erbschaft dieser Zeitand Literarische Aufsätze, and those of Balasz, Benjamin, Kracauer.
Il possibile e il marginale. Studio su Ernst Bloch
LATINI, MICAELA
2005-01-01
Abstract
The book The possible and the marginal (Mimesis, Milan 2006), divided into five chapters, discusses the artistic, literary, and aesthetical utopian ideas of Ernst Bloch, locating them in their historical, political, and socio-cultural context. The first chapter describes the cultural milieu of Heidelberg at the beginning of the XX Century, paying particular attention to the multicultural aspects of Bloch’s philosophy and aesthetics and to the cultural debate in the years before World War I (George, Lukacs, Simmel, Weber). The second chapter focuses on Bloch's ideas on the ekphrasis, and especially the primitive culture of ornaments, comparing them with those of art historian Carl Einstein. The third chapter is devoted to Bloch's aesthetics, and especially to his implicit dialogue with Alois Riegl and Wilhelm Worringer (the theme of the Kunstwollen in Geist der Utopie, 1918 and 1921) and to the debate on Expressionism. The fourth chapter explores Bloch’s Utopia and his poetics of the instant of time (Jetzt-Zeit), as embodied in Expressionisms and Surrealism in the arts and in literature (with some references to film-making): Robert Musil, De Chirico, Max Ernst. The fifth and last chapter analyzes Bloch's literary experiments, reading Bloch's short stories on the basis of the ideas expressed by Bloch in Erbschaft dieser Zeitand Literarische Aufsätze, and those of Balasz, Benjamin, Kracauer.
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