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Engleski
423 b
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Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavor since the outset of the broader modernity, which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. From the perspective of the subject, modernity has entailed a heightened sense of individuation, moral conflict, and pervasive loss and disaster. Yet the pitfalls that have earmarked personal experience have taken on positive value in an artistic enterprise that aspires to be a salutary replacement for externally imposed theological dogmas.
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