Word: nietzscheanization
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Dates: during 1980-1989
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...reflection upon Nietzschean critic and philosopher Paul de Man's tendency to regard "subjectivity itself as a rhetorical effect rather than a cause" observes that we become what we choose to read through the filtering composite "differences" of our individual experience. Johnson proposes that the politically correct reading lies in that which "encounters and propagates the surprise of otherness." The search for this "otherness" becomes the goal of interpretation...
Like many adaptations of classic novels, Lyubimov's is less a retelling of the story than a musing on its themes, best understood by people who know its plot well. Raskolnikov (Randle Mell) harps on the quasi-Nietzschean idea that conquerors absolve themselves of sin by the very act of conquest. He repeatedly urges himself to be a Napoleon -- which, Lyubimov acknowledges, Soviet audiences often took to mean a Stalin. These philosophical monologues, however, are kept brief. Lyubimov relies heavily on ritual and brief blackout skits that verge on surreal slapstick; he creates a milieu more than he mounts...
...Rubens. To those whose idea of modernism was modeled on Oedipal battle, that was not enough. Hence the feeling, not yet dispelled in all quarters of the art world, that Motherwell was too French, too fluent, not hard enough on himself or his viewers. Unlike such Nietzschean contemporaries as Pollock and Still, he was (dreaded word!) "elegant," and the fact that the blackness, raggedness and restrained violence of many of his paintings invoked the tragic only made matters worse...
...Braque, through Giacometti, to de Kooning and Arshile Gorky-an almost indescribably fruitful one. Today such a career seems inconceivable. No one even shows signs of assuming the empty mantle. If ever a man created his own historical role and was not the pawn of circumstances, it was that Nietzschean monster from Malaga...
...arches and tinted ceilings distantly echo the internal world of Cornell's boxes, and supported by a catalogue which now becomes the standard work on the artist, this is the most revealing Cornell exhibition ever held. Having had four months of the Big P's aggressions and Nietzschean sublimities, we may now relax-after a fashion, since Cornell was by no means a consoling eccentric-with the last artist who believed in fairies and owls' grottoes...