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The Impertinent Self provides a philosophical and cultural theory of modernity by constructing a parallel between the philosophical self and the hero figure found in certain cinematic genres. Früchtl argues that modernity is not unified and should be conceived as a phenomenon consisting of three strata: the classical, the agonist, and the hybrid. He demonstrates this by following a dual trajectory: the shift in the concept of the self from German idealism to Romanticism and so-called postmodernism, and the evolution of the hero figure in the Western and in crime and science fiction movies. Früchtl takes a clear position within the ongoing discussion in the humanities and social sciences about modernity, a discussion that, in light of the work of Foucault, Lyotard, and Habermas, has too often neglected the importance of Romanticism. Similarly, he embraces the role of film and popular culture in modern society.

The Impertinent Self: A Heroic History of Modernity

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Paperback / softback by Josef Früchtl , Sarah L. Kirkby

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The Impertinent Self provides a philosophical and cultural theory of modernity by constructing a parallel between the philosophical self and... Read more

    Publisher: Stanford University Press
    Publication Date: 18/09/2009
    ISBN13: 9780804757362, 978-0804757362
    ISBN10: 0804757364

    Number of Pages: 272

    Non Fiction , Politics, Philosophy & Society

    Description

    The Impertinent Self provides a philosophical and cultural theory of modernity by constructing a parallel between the philosophical self and the hero figure found in certain cinematic genres. Früchtl argues that modernity is not unified and should be conceived as a phenomenon consisting of three strata: the classical, the agonist, and the hybrid. He demonstrates this by following a dual trajectory: the shift in the concept of the self from German idealism to Romanticism and so-called postmodernism, and the evolution of the hero figure in the Western and in crime and science fiction movies. Früchtl takes a clear position within the ongoing discussion in the humanities and social sciences about modernity, a discussion that, in light of the work of Foucault, Lyotard, and Habermas, has too often neglected the importance of Romanticism. Similarly, he embraces the role of film and popular culture in modern society.

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