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Weiningers Critique of a Narcissistic Culture
Weininger Ibsen and the Origins of Viennese Critical Modernism
Ebner Contra Wagner Epistemology Aesthetics and Salvation in Vienna 1900
Offenbach Art between Monologue and Dialogue
Saint Offenbachs Postmodernism
Saying and Showing Hertz and Wittgenstein
Wittgensteins Religious Point of View
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aesthetics Austrian basis become called central century character Circle claims clear composer concept consider creativity critical critique crucial culture discussion dream Ebner efforts emphasized essay ethics example experience expression fact force Hertz human Ibsen idea ideal identified important insists intellectual Karl knowledge Kraus language later less limits live logical matter means mode moral namely nature never Nietzsche notion Offenbach once origins Otto Peer Gynt person philosophical physics play politics position possible practice precisely present Press principle problems produce question reality reason reference rejection relation religious represented respect role Schoenberg scientific seems sense sexual significance simply social sort speak suggest theory things thinking thought tion tradition Trakl true turn understand University values Vienna Viennese Wagner Weininger Weininger's Wittgenstein writing
Page 21 - Elsewhere in Europe, art for art's sake implied the withdrawal of its devotees from a social class; in Vienna alone it claimed the allegiance of virtually a whole class, of which the artists were a part. The life of art became a substitute for the life of action. Indeed, as civic action proved increasingly futile, art became almost a religion, the source of meaning and the food of the soul.