Bloch, E. Discussing expressionism.--Lukács, G. Realism in the balance.--Brecht, B. Against Georg Lukács.--Benjamin, W. Conversations with Brecht.--Adorno, T. Letters to Walter Benjamin.--Benjamin, W. Reply.--Adorno, T. Reconciliation under duress.--Adorno, T. Commitment.--Jameson, F. Reflections in conclusion.

Bloch's The Spirit of Utopia, here presented for the first time in English translation, is one of the great historic books from the beginning of the twentieth-century. A peculiar amalgam of biblical, Marxist, and Expressionist turns, drawing on both Hegel and Schopenhauer for the groundwork of its metaphysics of music, but consistently interpreting the cultural legacy in the light of a certain Marxism, The Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a (...) process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The first part concerns a mode of 'self-encounter' which presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. The second part is entitled 'Karl Marx, Death and the Apocalypse'. (shrink)

Ernst Bloch gives a striking account of materialism that traces emancipatory elements of modern thought to medieval Islamic philosophers' encounter with Aristotle. He argues that the great medieval Islamic philosopher Avicenna (Ibn Sina) planted the seeds of a radical materialism still relevant for critical theory today.

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of music (...) of his time in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

Afhandlinger om den tyske filosof Ernst Bloch's værker og idéer.

Reinicke, H. Einleitung, abenteuerliches Philosophieren für die Revolution.--Bloch, E. Vom Anbruch gemeinsamer Meinungen.--Bloch, E. Briefe an Joachim Schumacher.--Adorno, T. W. Für Ernst Bloch.--Bloch, E. Friedrich Engels als Polyhistor.--Bloch, E., Reinicke, H. Gespräch, Sokratisches zu Berufsverbot und Studentenbewegung.--Bloch, E. Offener Brief.--Schumacher, J. Erlebtes, Gespräche, das Unvergessliche (1932-77).--Schmidt, B. Über die Grundfrage Blochschen Philosophierens.

This book represents a unique attempt to reconcile the traditional oppositions of the natural law and social utopian traditions, providing basic insights into the meaning of human rights in a socialist society.

First published in Switzerland in 1935 and now available for the first time in English translation, _Heritage of Our Times_ is a bold work of cultural criticism by a major twentieth-century German philosopher. Recalling work by Walter Benjamin and the Frankfurt School, Ernst Bloch's study of everyday life and politics during the Weimar Republic and Nazi Germany is a brilliant historical analysis of the cultural conditions leading to German fascism. A half-century later, Bloch's prescient meditations on culture (...) and politics still retain their explosive power and are certain to provoke controversy and discussion among cultural critics, philosophers, social theorists, and historians. In their Introduction, the translators contextualize the book within the political and intellectual tendencies of the period and Bloch's other work. (shrink)

These essays in aesthetics by the philosopher Ernst Bloch belong to the tradition ofcultural criticism represented by Georg Lukács, Theodor Adorno, and Walter Benjamin.

Marx as a student -- Karl Marx and humanity : the material of hope -- Man and citizen in Marx -- Changing the world : Marx's Theses on Feuerbach -- Marx and dialectics of idealism -- The university, Marxism, and philosophy -- The Marxist concept of science -- Epicurus and Karl Marx -- Upright carriage, concrete utopia.

Pubblicato agli inizi degli anni Cinquanta del Novecento da Ernst Bloch (1885-1977), Gli strati della categoria della possibilità diventò in seguito il diciottesimo capitolo del suo Principio speranza. Vi è presentata un’indagine teorica e storica su che cosa sia la possibilità. Da Aristotele a Marx, passando per Averroè, Giordano Bruno e Hegel, lettrici e lettori ripercorreranno le proposte avanzate nella storia della filosofia per affrontare la questione del possibile, fino a scoprire la teoria della possibilità reale. Grazie alla (...) sua particolare struttura, che sviluppa l’argomentazione facendo emergere in ordine di complessità crescente i principali elementi dell’ontologia del non essere ancora, questo testo è una preziosa chiave per orientarsi nella lettura della filosofia di Bloch. (shrink)

The writings of Ernst Bloch represent one of the lasting linguistic and intellectual achievements of expressionism. What distinguishes Bloch from other expressionists is that he lived long enough to form the impulses of the expressionist break-through into an oeuvre that grew in depth and mastery across half a century. This collection, which dates from 1913 to 1964, represents a field of experiment in which a thinker of astonishing originality exposes his own thought to the provocation of literary, (...) musical, and artistic works, but also to such quasi-artistic phenomena as advertisements, landscapes, cliche;s and obsessive images, films, and forms of interaction in country and city: why does water emerging from a spring so fascinate the human imagination? What is the function of musical accompaniment in a silent film? How does a writer's birthplace imprint itself on his intellect? (shrink)

Nous ne sommes pas encore nés. Pris dans l'obscur de ce qui n'est qu'une préhistoire, nul d'entre nous ne peut prétendre être l'héritier du passé, nul ne peut y chercher la lumière. Livre de rupture et de passion écrit tout au long des années de guerre, d'avril 1913 à mai 1917, L'esprit de l'utopie, première, œuvre provocante plus que démonstrative d'Ernst Bloch, est animé d'un double mouvement de révolte et d'espérance. Sa révolte s'élève contre un univers qui a (...) perdu le sens du Nous, de la communauté, qui a réifié l'être, qui a réduit Dieu à un simple fait, lui qui est une " question inconstructible ". La musique, objet central du livre, est la voix privilégiée de cette révolte, car elle fait exploser la distinction entre le sujet et l'objet, entre l'âme et le monde. Sans conclure aucune paix avec le monde, Bloch veut nous apprendre à espérer à partir de notre ici-bas. Il déchiffre comme autant de signes tangibles de noter réalité encore à naître, comme autant de traces de la venue de la " vraie patrie ", comme autant d'utopies concrètes et agissantes, l'œuvre la plus humble d'un potier inconnu, l'audace plastique du cubisme et du futurisme, le mystère de la musique - le plus utopique de trous les arts -, enfin la grande voix libératrice d'un marxisme réconcilié avec son essence prophétique. Car ces chemins expriment tous l'effervescence du réel, sa tendance utopique interne. En pleine Apocalypse donc, Bloch découvre l'" esprit de l'utopie ", le génie paraclétique de la culture et les racines métaphysiques de toute espérance révolutionnaire. Il renoue ainsi avec la tradition millénariste. Depuis, ce livre n'a cessé de représenter une véritable force de vie et de combat qui animera Ernst Bloch tout au long de son œuvre, jusqu'au Principe Espérance et aux derniers textes du solitaire de Tübingen. (shrink)

In questo dialogo radiofonico del 1964 Bloch e Adorno discutono della nostalgia per ciò che non è ancora, per un qualcosa che manca, come af¬fermato nel Mahagonny di Bertolt Brecht. L’utopia, in Moro e Campa¬nella, era l’isola in cui vigeva uno stato di cose giusto, la optima res pu¬blica. L’utopia è quindi ricerca di realizzazione, di libertà, di giustizia. Nonostante oggi la parola ‘utopia’ sia caduta in discredito a causa del com¬piersi di un gran numero di cosiddetti sogni utopici, (...) tutti gli uomini si ren¬dono conto che qualcosa di meglio è davvero possibile. Bloch sostiene che l’utopia è una parte ineliminabile del pensiero, mentre Adorno argomenta che l’idea di utopia coincide con la trasformazione della totalità, con la ca¬pacità, da riconquistare, di immaginare la totalità come qualcosa che po¬trebbe essere completamente differente.In this 1964 radio talk, Ernst Bloch and Theodor W. Adorno debate about the desire for something that is not, for «Something’s missing», as stated by Bertolt Brecht’s Mahagonny. Utopia, by Thomas More and Tommaso Campanella, was the island of good social order, optima res publica: uto¬pia is then search for happiness, for freedom, for justice. Though nowa¬days ‘utopia’ has become discredited by the fulfilling of a large number of so-called utopian dreams, all men know that something better is really pos¬sible. Bloch argues that utopian thinking is a fundamental part of thought itself, while Adorno states that the idea of utopia coincide with the trans¬formation of totality: men must reconquest the capability to imagine the totality as something that could be completely different. (shrink)

Foreword, by H. Cox.--Introduction, by J. Moltmann.--Karl Marx; death and apocalypse.--Incipit vita nova.--Biblical resurrection and apocalypse.--Christ, or The uncovered countenance.--Religious truth.--Christian social utopias.--The nationalized God and the right to community.--Man's increasing entry into religious mystery.