All That Is Solid Melts into Air: The Experience of by Marshall Berman

By Marshall Berman

"A effervescent caldron of rules . . . Enlightening and valuable." —Mervyn Jones, New Statesman.
The political and social revolutions of the 19th century, the pivotal writings of Goethe, Marx, Dostoevsky, and others, and the production of latest environments to interchange the old—all have thrust us right into a sleek international of contradictions and ambiguities. during this interesting e-book, Marshall Berman examines the conflict of periods, histories, and cultures, and ponders our clients for coming to phrases with the connection among a freeing social and philosophical idealism and a fancy, bureaucratic materialism.
From a reinterpretation of Karl Marx to an incisive attention of the impression of Robert Moses on glossy city dwelling, Berman charts the growth of the twentieth-century adventure. He concludes that edition to continuous flux is attainable and that therein lies our wish for reaching a very glossy society.

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Extra resources for All That Is Solid Melts into Air: The Experience of Modernity

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Inkeles' essay is entitled "The Modernization of Man," and is meant to show the importance of human desire and initiative in modern life. But its problem, and the problem of all modernisms in the futurist tradition, is that, with brilliant ma­ chines and mechanical systems playing all the leading roles-just as the factory is the subject in the quotation above-there is pre­ cious little for modern man to do except to plug in. " to modern life, we find a surprisingly similar vision of what that life is like.

Marx, in his first Thesis on Feuerbach ( 1 845),. points out an affinity �tween the radical humanist Feuerbach and his reactionary "German-Christian" opponents: both parties "re­ gard . . , the form of the Jewish God who gets his hands dirty making the world. Jerrold Seigel, in Marx's Falt (Princeton, 1 978), 1 1 2- 1 9, offers a perceptive discussion of the equation of Jewishness with practical life in Marx's thought. What needs to � done now is to explore this symbolism in the larger context of modern German history.

What saves Goethe's Faust is not jesus Christ: he laughs off the manifest Christian content of what he 'hears. What strikes him is something else: And yet, I know this sound so well, from childhood, That even now it calls me back to life. [769-70] These bells, like the apparently random but luminous sights and sounds and sensations that Proust and Freud will explore a cen­ tury later, bring Faust into touch with the whole buried life of his childhood. Floodgates of memory are thrown open in his mind, waves of lost feeling rush in on him-love, desire, tenderness, unity-and he is engulfed by the depths of a childhood world that his whole adulthood has forced him to forget.

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