The Culture of Time and Space, 1880-1918

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Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. Bestandsnummer des Verkäufers G0674179730I3N00

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Críticas: A brilliant, gutsy essay in intellectual history on how thought, technology, art and politics smashed objective time and bourgeois hierarchies of space. A most valuable and inventive book, one that will surely be consulted as a model for future study on the large area of the relation of culture and technology. In its effort to tie material culture with intellectual history, in its attempt to synthesize a vast number of subjects, and in its quest for basic human experiences that were responsible for making this period distinctive, Kern's book suggests rich possibilities for a new kind of historiography. No brief summary can do justice to the riches and range of this exciting book, which brims with ideas and insights, evidence and examples, and provides the most comprehensive account of the life of the mind in these crucial decades before the First World War, when so much of our modern world was formed and fashioned. Kern's command of art and literature, painting and architecture, philosophy and psychology, physics and technology is awesome: he moves from Proust to Picasso, Einstein to Stravinsky, with consummate ease and unquenchable enthusiasm. Kern sets out ambitiously to locate the essential thought or content of an age by cutting across traditional disciplines. His categories of time, space, speed, distance, and form refer as much to science and technology as to philosophy and the arts. The last two chapters on World War I offer an often dazzling performance during which Kern juggles the accelerated telephone-inspired timing of the crisis among the European powers--'the whole-souled sentimental equipment' that F. Scott Fitzgerald said won the war--and Picasso's recognition of Cubism's contribution to camouflage. Kern proposes a final panoptic metaphor for the era: 'the miles of telephone wires that criss-crossed the Western world' and stand for 'the vast extended present' of simultaneity. -- Roger Shattuck "New York Review of Books" "No brief summary can do justice to the richness and range of this exciting book, which brims with ideas and insights, evidence and examples, and provides the most comprehensive account of the life of the mind in these crucial decades before the First World War, when so much of our modern world was formed and fashioned. Kern's command of art and literature, painting and architecture, philosophy and psychology, physics and technology is awesome: he moves from Proust to Picasso, Einstein to Stravinsky, with consummate ease and unquenchable enthusiasm." --David Cannadine, "London Review of Books" "A most valuable and inventive book, one that will surely be consulted as a model for future study on the large area of the relation of culture and technology." --Mark Poster, "American Historical Review" "In its effort to tie material culture with intellectual history, in its attempt to synthesize a vast number of subjects, and in its quest for basic human experiences that were responsible for making this period distinctive, Kern's book suggests rich possibilities for a new kind of historiography." --Neil Harris, "Journal of Modern History" "A brilliant, gutsy essay in intellectual history [on] how thought, technology, art and politics smashed objective time and bourgeois hierarchies of space." --"Nation" "[Kern] sets out ambitiously to locate the essential thought or content of an age by cutting across traditional disciplines. His categories of time, space, speed, distance, and form refer as much to science and technology as to philosophy and the arts. The last two chapters on World War I offer an often dazzling performance during which Kern juggles the acceleratedtelephone-inspired timing of the crisis among the European powers--'the whole-souled sentimental equipment' that F. Scott Fitzgerald said won the war--and Picasso's recognition of Cubism's contribution to camouflage. Kern proposes a final panoptic metaphor for the era: 'the miles of telephone wires that criss-crossed the Western world' and stand for 'the vast extended present' of simultaneity." --Roger Shattuck, "New York Review of Books"