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  • Antoine Compagnon Five Faces of Modernity PDF

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    Antoine Compagnon Five Faces of Modernity PDF

    Diunggah oleh

    Delia Ungureanu

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 16
    THE FIVE PARADOXES OF MODERNITY Translated by Franklin Pbilip ~ Columbia Usivesiy Press Colina Unveney Pre wise ees i appetite ‘en thegnernenof Face a Le Mine dela he epee tan, Cotas Unive roe NewYork Chute Wee Sass Le Cg Pada i Meer Eds Sel 980 Coppi © 1994 Camis Uaeiy Pros ‘tg eed Libary of Cong Cag in Poin Dt Compaen, Aine, 15D [ts Cing pede dea modei. ogsh) The Fe pudoes ody Anne Compan; dla ey in Pai, loca tigi enc an ine Mole (a) 2A Marn 19 cn New eacists 194 puree essay rrr wid-le oct 26 19% 1994 CONTENTS Preamble: Modern Tradition, Modern Betrayal "The Praigeof the New: Bernard of (Chars, Baudelire, and Manet ‘The Religion ofthe Fature: Avan. Gardes and Orthodox Natives “Theory and Teron: Abstrction and Sanealisa, [A Fool Bargain: Abstract, Expresioniam and Pop Are (Out of Steam: Postmodernism and Retraction Conclusion: A Recurn to Baudelaire ibiegeply ‘THE PRESTIGE OF THE NEW: BERNARD OF CHARTRES, BAUDELAIRE, AND MANET inno ae fret oes thi oben wee ‘eee ad we have thee mtr Pl Dey May 51972 Moder, mederiny madernim: these words have Aire meanings in French, English, and German they do to dear and distinct ideas, to dosed concept. Baudelarean moderiy, which T shall dacs farther on, com tains within its oppose, aresstance ro moderniny. All mod «sm ats, from the romantics on, have ben divided 2nd some tims coun apart. Medeniy, willing, adops a provocative ‘manne, but ep side i desperation. Let us nfl vii 0 the mirge of “overcoming,” going beyond, moments of bral ing the limits in onder to ree contradictions whose ery ature i o seman insoluble; let us guard against reducing che ‘mbiguty peculiar to the new as «fundamental vale of he ‘modern age. For minds trained inthe enac sciences and mathe ‘matical logic ii ard to discard ational habits, but the wold of symbolic forms obeys dflerentlgie and demands instead tm ineiive mind, In this ae, there is no way fo acve st nest, ‘einitions resolving all ambiguities. Instead, ete is a tangled skein of words that | propo to ore aut, They come in pins Ancient and modern, asl and romantic, ation and rig ‘aly, routine and novel, imitation and innovation evolion and revoaton, decline and progress, and so on. These pats are ‘ot synonymous, bu they clea form a paradigm and overlap, ‘They ae also contradictory. Fo this eason, authors wo speak relevnly of modernity ate ofen iicut to seas Walter Benjamins analyse, for example slip trough the finger ke sand. {wll hereon imi malo drawing the map of moder nity which, according ro Gna Vani’ flo phat, i “the epoch i which Being i edced to the maou” After preseting a shor genealogy of the new ata vale, 1 wil ofr 8 an example of the Gat parsdor of moderiy, the ambivalence of ce fist modens,parcuaely Baudelaire and ‘Manet. la che spring of 1888 Nietche contsted evo sper of decadent ie, moderns "The rypicl devant the Goncouts, the Richard Wagaers for example, who Fel mca) in the dlepraviey oftheir spl and thercby ay ean to superoe taste, those whe wane «0 impose a law om ath must be ditin- ‘ished from the decadent who ave a guy conscience and are dlecadntsin spite of themselves” Beside the confident dec dente refer ere tothe eis historical avan-ganes ater than to Wagner or the Goscourse—Niceuche does not quote the decadents or moderns who were so in pte of themveles, buciris noc unlikely cha he was thinking of Baudelite. Ie is necessary o be absolutely modera,” proclaimed Riba ‘With Rimbaud the slogan ofthe moder buries ou 3 the vio- lene rejection ofthe old. The rem new is repeated ehrovghont his famous "leer ofthe ser” of May 1871—at the height of the Pais Commune—as, for example, inthis reservation he cexpresed about Baudehize slr “Tavenions ofthe unknown ‘equre new forms.” This inevitably reminds ws of the final ‘melanchly line of Baudelaire poem, "Le Voyage,” and of the 1861 edition of Fleurs di Mal plunging" fond de conn ‘pour trouser di noes!” [To the bottom ofthe Unkaavwn 10 Find the new) Ae fst the “new according to Baudelaire and the new" according co Rimbaud scem eo be uncelated. Baud laine’ “new” is desperate—such being dhe meaning of elena Frenchie is wrented fom cxastrophe, om dhe disaster of tomorrow. "The word is going eo end thus begins the most, deze Fngent fom Baillie’ diaries, and one of the most pesmi, which Walter Benjamin in 1939 saw a prophesying the imminent wat. Rimbaud, on the other hand, aigns the poet the mision of making himself “multiplier of progres” True, despite his iniial promise, he son ended up in lence, reaching the frontiers of atin shore onde. T need aow to go further back wo trace the elie oign and genealogy of these nocons. Though che erm made mean- Ing the character of being modetn, first appened in 1823 in Bala, before i was identified with Bridelsire, and though the term madernion —in the seme of a tat, mast ofen judged exces, For what is modern —was first used by Huyemans in the Selo de 1879, dhe adjecive moder is much olde, accoul- ing co Hans Rober Jaus who has eraced is history: dems appeated in low Latin toward the end of the lth century, ‘esved from modo jst now, scent, now). Madera desig ‘ates noc whats new, but what i curten, contemporary, ofthe present, The modern thus comcast wth the oo the ancient, that isto, the bygone pas ofthe Greco-Roman culture. The ‘madern vers the nti is he inl contrat, chat of| the present vers the pat, As aus ugget, the ene histry of che word and its semantic development has been one of thvinking the time lg between the present and the pst in other words the speeding up of history. Iematters lie whether this aceeraton sa elity or an ilision, whether or nat enone ‘hings happen in« momen of modern times than ina moment fof aniqultys what counts i the perception of die. The ete ‘return ofthe same can also speedup ts pace, Te sie tue of fision, thich is never very far from he moder ‘When the word fist appear, rime was not even a suc “The split hecween the ancien and the mover dos nt involve ‘ime; the separation berween Greco-Roman antiquity and che ‘odieal hi mane i rota and abyolte: the conflict berwenn the ideal and the commonplace. Today—Baudehire lady noted this phenomenoa—the moder rimmed outdated, onteatng ls with che timeless cli shan with the out ‘moded, tha i, what as gone out of fashion oe what was od cers yesterday ime har speded up. But thi acceleration began ‘longtime ago. Wheteas inthe ih century moderna did noe imply eh kes of time, bythe twelfth century-—ding what i called the fist Renaissance—che time lag defining the modern 2 opposed to the arial was of only a few generations the ‘question has been much debated whether a cal tthe swells century the notion dd not already conti the idea ofa cei progress beowen the antiga and the made, an ides linked to ‘ou ows conceptions ofthe modern es There isa famous medieval image that foreshadowe—at lest fr the debates on is incerpreation—the paradesial Feature ‘tha throughout is history wll ein ateached o he modern 2 2 negation, including the negation of ioelE The image tppeut on one athe tained hss windows in Charts cathe Aral representing the apostles sting on the shoulders of the prophets: on the south side for example, Ssine Joh i perched ‘on the shoulders of Ezekiel and Saint Mark onthe shosldes of Daniel Symbolzing the link berveen the Old and the New Testaments this image has become, a the ost of some confi sion, an emblem of the ration beowcen che ancient and the ‘moderns. Tt has often been associated with the commonplace fase uttered ia the ewelh century by Bemaid of Chaties ‘Nan poss super umers gigas We at like dats perched fon the shoulders of gant). The image andthe phrase probably have nothing to do with cach other 3 fr as thee origin ae concerned: comparing the apostles to dwatti—i the prophes appearing as glans-does not ft the Chritian concepcon af the relation beoween the two testament, Thus it ‘sin the manne in which they were perceived thatthe two yt bolsms became mingled in single commonplace; but this is ‘1 les significant, And i the image and the saying have been ° taken w be synonymous, the cause is no doubt thei sared ambiguity I conse in the oloings darts ace svaller than anes bu, perched on glans’ shoulder, chey can se furcet. Te B unclear which of the two apecs of the modems situation vive the ancients the commonplace was emphasing, ae the modems smaller or are they more peipccious! Once the ‘wo aspect are identified as che sme this emblem of progress becomes an emblem of decadence. Bren before bring invented as auch, progress already implies decadence. Bren so, before it became linked to the sation between apostle and prophet, the image ofthe dwar on the shoulders of the gant wis probably merely a schoatie ilstetion used by the grammarians aa simul for imiaing ancient models In is "De Vexpltence,” Montague uns it i a way that i any thing bu progesivi: “Our opinions are grafted one upon the ‘other. The ft one serves asst forthe second, the second Tor the tind. We dus climb frm one ep to the nex. Anda 3 rer the one who has risen the highes i offen more honored than he deserves; for he has ssen only by atny degree over the shoulders of he nex ola.” Therefore woud be anachrnis ticto sein chi image a philosophy of history chat would imply the ides of overcoming, the bei that between the old and the new there is historical progess of, at the very least some progress in knowledge. The Christian conception of time docs ‘ocllow this adie ic implies an iden of progres, but a spiritual or ological progres, making the cohesion berween the Old and New Testaments the model of the sation berween preset sme and eternal life and not historical progres The adage cha governs the Catholic racon between the present and tradition, that i the relation berwsen current texts find the of the past that old authoriay—those of the fathers and docots ofthe Church—is "Non now, td nore” (not the ‘new bat anew), a the words of Vincent of Lésns. The idea is to speak in new terms, but avoiding the introduction of the slightest novly, Theis how the Chiisian eradiion defines + Sane John om the shoulders of Eel zd Srine Mackon she shoulder of Dal y a i j i esl fo perfection existed in the beginning before sin and if slice in the Fare, this ature i chought of noc asa continu ‘ia of erhly ime but as another time, a erat. “The invention of proges wa indispensible forthe ad ‘modern to acquit the nebulous renee has now eden, chat ts Octavio Pz has noted, the definition of a postive sense of time eis aithereylicl at mot of the ancient thesis of histor nor epologieal tin Christan doce, nr negative, as in mort ofthe thinkers ofthe Rentsance: Machisvel, Jean Bodin, and probably Montaigne. Adnmicedly,a positive idea of timethat is a8 @ linea, cumulative, and causal develop- tment—implies the Chistian notion of time; but opens ou ino an infinite future, This positive ies of time was applied to history to the history of atin parca, aa law ofperietibil- iy thar was postulated in the sienoes and technology dusing the siteenth century Ths, in paradox based on the parallel between the apes of life and of humane, Francis ‘Bacon revered the relationship beeen the ancients and che moderns: the ancient, in ration tous, were like childhood in raion the wisdom of old age. "Te is we who are che ancient,” sid Descartes, and Pascal didnot notice Montaigne skepecam wen he repeated the image of giving someone ale up: “From there, we ean dicover thingy that were impossible for them to petosive. Ou vision is more extensive, and although they knew fl ha isco be observed in nature ae well r we do, nevertheless ‘hey dd not know ar mach a we do, and we sce more han they id” Pascal wrote this in the Pre eur le rei vide i which he shows thar Western scenic proges since the Renaisance, soe atthe abolishment of authorgy and thew mph of reson, i the model for oue modern conception of time: succenne,irevesble, and infinite, “The aertion of progres inthe raz of taste and not merely in scenic and philnophical knowledge—in other words the sic and literary superiority of moderns over ancents—made its fist appearance during the quarrel over the ancients and the ‘moderns that occurred atthe end ofthe seventeenth century Thus doub was cast om che foundation of clic sertheties and ehis, which saw reverence for, and imitation of, the ancients asthe only ritcion of beauty, and acerted the timeless Values of ancent models Chases Prt author of Paral des ancien ef der madernes ad Beenatd de Fontenelle were the cic Cris of uation and author: Bu che most vigorous arg- ment against eiional autosty was found in Spinoras Truss Thealogis-Poliicn, with ts ancrton of the hoc ature ofthe Bile, From the viewpoint of the modems, the ancients were inferior basa chey were primiive and the mod ens superior because of progressseientfe and technological progres, social progres and so forth. Literature and at fl lowed the general movement, and the negation of exblshed ‘models could be son asthe blueprin for aeetheic development. rom then on an aesthetics of the new became 2 possibiiy. Some will argue that this posstilgy had alvays existed This is indeed er of the aesthetic of surprise an the nexpeted, a in the baroque, bu not tue ofthe sehetc of change and neg ‘inn. The ecentic or the exavagaat that hs away exited on te fringes of wadion-

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