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La fine della cultura. Saggio su un secolo in crisi di identità
Qual è il destino della cultura novecentesca ora che il mondo in cui è nata non esiste più? Il grande studioso Eric Hobsbawm – che con le sue ricerche ha trasformato la storiografia del Novecento – ha dedicato in una vita di studi ampio spazio ai mutamenti, profondi e irreversibili, che hanno segnato il XX secolo, e in questo volume ripercorre i momenti decisivi dell’evoluzione delle forme culturali nel corso del Novecento. Spaziando dai valori della civiltà borghese mitteleuropea alle avanguardie artistiche, dai grandi miti del cinema americano fino alla combinazione di tecnologia e consumo di massa che caratterizza lo scenario culturale in cui viviamo, Hobsbawm spiega perché le arti del nuovo millennio non possono essere comprese senza guardare al Novecento e, allo stesso tempo, ci offre riflessioni, idee e storie che del “secolo breve”, ma interminato, restituiscono tutta la complessità, le interferenze e gli attriti.
312 pages, Paperback
First published February 28, 2012
108 people are currently reading
981 people want to read
About the author
Eric J. Hobsbawm
215 books1,712 followersEric John Ernest Hobsbawm was a British historian of the rise of industrial capitalism, socialism and nationalism. His best-known works include his tetralogy about what he called the "long 19th century" (The Age of Revolution: Europe 1789–1848, The Age of Capital: 1848–1875 and The Age of Empire: 1875–1914) and the "short 20th century" (The Age of Extremes), and an edited volume that introduced the influential idea of "invented traditions". A life-long Marxist, his socio-political convictions influenced the character of his work.
Hobsbawm was born in Alexandria, Egypt, and spent his childhood mainly in Vienna and Berlin. Following the death of his parents and the rise to power of Adolf Hitler, Hobsbawm moved to London with his adoptive family. After serving in the Second World War, he obtained his PhD in history at the University of Cambridge. In 1998, he was appointed to the Order of the Companions of Honour. He was president of Birkbeck, University of London, from 2002 until his death. In 2003, he received the Balzan Prize for European History since 1900, "for his brilliant analysis of the troubled history of 20th century Europe and for his ability to combine in-depth historical research with great literary talent."
Hobsbawm was born in Alexandria, Egypt, and spent his childhood mainly in Vienna and Berlin. Following the death of his parents and the rise to power of Adolf Hitler, Hobsbawm moved to London with his adoptive family. After serving in the Second World War, he obtained his PhD in history at the University of Cambridge. In 1998, he was appointed to the Order of the Companions of Honour. He was president of Birkbeck, University of London, from 2002 until his death. In 2003, he received the Balzan Prize for European History since 1900, "for his brilliant analysis of the troubled history of 20th century Europe and for his ability to combine in-depth historical research with great literary talent."
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Displaying 1 - 30 of 39 reviews
January 20, 2020
Hobsbawm "entrou" na minha vida por um mero acaso e foi das melhores descobertas que fiz. Apenas lamento não ter tido contacto com a sua obra previamente. Os equívocos que desfaz e, sobretudo, as perguntas com que nos deixa, conseguem transformar a nossa visão do mundo. Pelo menos a minha mudou. E é tão bom sentir a epifania das coisas novas, das revelações que nos amadurecem.
Eu gosto disso! Dos livros que nos vêm trazer perguntas, dúvidas ... os séculos das verdades, dos dogmas e respostas << prêt-à-porter >> devem ficar lá para trás. O homem que mata o homem porque lhe quer revelar a sua verdade, instaurando a sua inquisição, não é o homem que nos pode ajudar a construir um futuro prodigioso.
Este livro aborda de forma construtiva a evolução cultural, assim como as vicissitudes e "partos difíceis" de cada momento histórico, intercalando cultura e política, revolução e insatisfação, este livro revela o originalíssimo olhar deste grande contador de História.
A dada altura senti que este livro era uma grande síntese de Habermas, Adorno, Ortega y Gasset, etc. Aliás o autor refere Zweig e a sua incomparável obra "o mundo de ontem" (die welt von gestern) e a dada altura parecia-me que era uma continuação desta obra de Zweig, mas ainda num prisma de um mundo que ainda não se transformou em "ontem". Uma viagem ao mundo de hoje.
Eu gosto disso! Dos livros que nos vêm trazer perguntas, dúvidas ... os séculos das verdades, dos dogmas e respostas << prêt-à-porter >> devem ficar lá para trás. O homem que mata o homem porque lhe quer revelar a sua verdade, instaurando a sua inquisição, não é o homem que nos pode ajudar a construir um futuro prodigioso.
Este livro aborda de forma construtiva a evolução cultural, assim como as vicissitudes e "partos difíceis" de cada momento histórico, intercalando cultura e política, revolução e insatisfação, este livro revela o originalíssimo olhar deste grande contador de História.
A dada altura senti que este livro era uma grande síntese de Habermas, Adorno, Ortega y Gasset, etc. Aliás o autor refere Zweig e a sua incomparável obra "o mundo de ontem" (die welt von gestern) e a dada altura parecia-me que era uma continuação desta obra de Zweig, mas ainda num prisma de um mundo que ainda não se transformou em "ontem". Uma viagem ao mundo de hoje.
September 17, 2014
The historian presents a story about how the role of women and culture has been shaped over the past 150 years. It goes something like this...
At last women were allowed to enter "the public sphere". But then at that great historic moment their sisters sold them out. It had looked good for a while. Many women were supported by their liberal, progressive fathers who wished to see their daughters secure a highly regarded position in the prosperous middle class. Of course there were many men who wished to keep women out. Those like Freud, for instance, who didn't fear women's growing socioeconomic power so much as their independent sexuality. He was a married, middle class man, after all. By 1914 you could see a favorable pattern developing, the historian says: it was a lot easier to sleep with a Protestant or Jewish girl of the middle class than it had been a mere twenty years before. A hundred years later it seems a little baffling that men wouldn't want this - but there you go, times do tend to change.
It had been argued prior to around 1910 that women were the primary carriers of culture, morally and spiritually superior to men. "This is the image of the prosperous businessman visibly bored at the symphony concert to which his wife has dragged him against his will." Not that women were interested in the symphony either; everyone had assumed that this is what attaining high culture brings. They were rewarded for being transmitters of culture, but a growing movement of men and women realized how condescending this was.
Then the wife, encouraged by her father and husband, wished to be the genius that wrote the music. But she found herself left out as those women of her class were more interested in creating novels, fashion, news, social gossip that was best suited for a specifically feminine market.
The strategies and tactics of securing marriage, the need of finding one's place, getting together to discuss women's issues for protection and advancement, these moves were essential to every woman except those who wished to be genuinely innovative: the artists, or the activists, or the rebels, or that rare female scientist seeking a cure. A split occurred that is still the legacy of the women's movement today. A woman could be a genius or accomplished beyond Victorian dreams but the rest of women would not be able to identify with her: "No doubt many emancipated and cultured women also devoured fashion pages and read romance novels without thereby derogating from their status, but even today not many such women actually like to boast about their taste for romantic fiction."
Aesthetic values thus became the mistress of the home, not of the theater or of the symphony hall. If women suddenly had the power of securing their privacy (and soon the vote for themselves and eventually property), that meant they had no need to be purveyors of high culture and what that might exchange, spiritually or intellectually. High culture remained an exclusive club. And probably not all that important anyway. Still, the two movements brought women to the center of cultural life. The question then became, where is cultural life at? And who owns it if it's everywhere? The image of "culture" in 2014 seems to be of what land was to the Native Americans: they weren't imperialist and exploitative about it but they were living off its resources.
T.S. Eliot viewed it this way: "in the room the women come and go/talking of Michelangelo." In one sense he's saying that's great if women do no more than that, at least they are attuned to culture. But it being Eliot he saw himself as a genius. He is isolated from these women. Those who know what genius is, he noticed, but who would never dare try becoming one. A kind of genius like himself, of course. And one who has no interest whatsoever about what's important to the feminine market. He could never make that compromise with common taste and morality; the women talking of Michelangelo do.
The advancement of women as a race as opposed to women of individual genius is a central question that animates not just this one but all of Hobsbawm's essays, as he also takes a look at the avant-garde, Pop Art, Jewish intellectual life, religious opposition to modernity, technological advances. He has made a claim that Margaret Mitchell's Gone With The Wind is more revolutionary than Picasso's Guernica. If that notion sounds ridiculous to you then I highly recommend this book. Personally I needed to hear this argument, one that's actually in favor of democracy and not the talk it engenders.
At last women were allowed to enter "the public sphere". But then at that great historic moment their sisters sold them out. It had looked good for a while. Many women were supported by their liberal, progressive fathers who wished to see their daughters secure a highly regarded position in the prosperous middle class. Of course there were many men who wished to keep women out. Those like Freud, for instance, who didn't fear women's growing socioeconomic power so much as their independent sexuality. He was a married, middle class man, after all. By 1914 you could see a favorable pattern developing, the historian says: it was a lot easier to sleep with a Protestant or Jewish girl of the middle class than it had been a mere twenty years before. A hundred years later it seems a little baffling that men wouldn't want this - but there you go, times do tend to change.
It had been argued prior to around 1910 that women were the primary carriers of culture, morally and spiritually superior to men. "This is the image of the prosperous businessman visibly bored at the symphony concert to which his wife has dragged him against his will." Not that women were interested in the symphony either; everyone had assumed that this is what attaining high culture brings. They were rewarded for being transmitters of culture, but a growing movement of men and women realized how condescending this was.
Then the wife, encouraged by her father and husband, wished to be the genius that wrote the music. But she found herself left out as those women of her class were more interested in creating novels, fashion, news, social gossip that was best suited for a specifically feminine market.
The strategies and tactics of securing marriage, the need of finding one's place, getting together to discuss women's issues for protection and advancement, these moves were essential to every woman except those who wished to be genuinely innovative: the artists, or the activists, or the rebels, or that rare female scientist seeking a cure. A split occurred that is still the legacy of the women's movement today. A woman could be a genius or accomplished beyond Victorian dreams but the rest of women would not be able to identify with her: "No doubt many emancipated and cultured women also devoured fashion pages and read romance novels without thereby derogating from their status, but even today not many such women actually like to boast about their taste for romantic fiction."
Aesthetic values thus became the mistress of the home, not of the theater or of the symphony hall. If women suddenly had the power of securing their privacy (and soon the vote for themselves and eventually property), that meant they had no need to be purveyors of high culture and what that might exchange, spiritually or intellectually. High culture remained an exclusive club. And probably not all that important anyway. Still, the two movements brought women to the center of cultural life. The question then became, where is cultural life at? And who owns it if it's everywhere? The image of "culture" in 2014 seems to be of what land was to the Native Americans: they weren't imperialist and exploitative about it but they were living off its resources.
T.S. Eliot viewed it this way: "in the room the women come and go/talking of Michelangelo." In one sense he's saying that's great if women do no more than that, at least they are attuned to culture. But it being Eliot he saw himself as a genius. He is isolated from these women. Those who know what genius is, he noticed, but who would never dare try becoming one. A kind of genius like himself, of course. And one who has no interest whatsoever about what's important to the feminine market. He could never make that compromise with common taste and morality; the women talking of Michelangelo do.
The advancement of women as a race as opposed to women of individual genius is a central question that animates not just this one but all of Hobsbawm's essays, as he also takes a look at the avant-garde, Pop Art, Jewish intellectual life, religious opposition to modernity, technological advances. He has made a claim that Margaret Mitchell's Gone With The Wind is more revolutionary than Picasso's Guernica. If that notion sounds ridiculous to you then I highly recommend this book. Personally I needed to hear this argument, one that's actually in favor of democracy and not the talk it engenders.
August 10, 2019
هذا الكتاب عبارة عن مجموعة مقالات ومحاضرات ألقاها الكاتب أو نشرها على مدار نصف قرن. قد تظن هذه المقالات غير مترابطة وليس هنالك أي علاقة تجمعهم مع بعضهم البعض, ولكن أن نظرت عن كثب ستجد أن ظنك في محله فهذه المقالات غير مترابطة وغير متسلسلة بشكل واضح وترتبط بخيط واهي جداً.
نعم كلها تتكلم عن الفن في القرن العشرين وكيف تغيرت الأزمنة وفقد الفن القديم ألقه بسبب دخول الوسائط الجديدة, لكن المقالات نفسها ليس هناك شيء يربطها ببعضها البعض. فكل مقالة تتناول موضوع مختلف وفترة مختلفة وأحياناً فترات متداخلة لكن من دون ترابط بين المواد. وأن كنت تفكر حسناً قد لا يكون هذا كتاب منظم لكنه يبقى مجموعة مقالات ومحاضرات واحد من أهم المؤرخين والمثقفين في القرن العشرين الذي لا يمكن أن تخرج منها إلا ومعك رؤى ووجهات نظر عميقة عن الفن, حسناً فكر مجدداً. تخيل ذلك الشخص في المتحف الذي يخبرك عن الحالة الممزقة التي كان يعيشها الشاعر لكي يخرج لنا بهذا العمل الطليعي الوحشي ذو الرؤى المستقبلية مع مسحة من الروح الأفريقية المقاومة للاستعمار ومعاناة البحث عن الذات, كل ذلك وأنت تنظر إلى لوحة تصور شجرة. حسناً هذا الشخص هو هوبزباوم.
أنا لا أقصد أنه متعالي أو يتكلم كلام مبهم عصي على الفهم ,لا بالعكس فهو يتكلم كلام بسيط لكن ببساطة لم يكن كلامه موجه إلي . ففي المقالة الواحدة يتناول دزينة من الحركات الفنية بالإضافة إلى بضع عشرات من الفنانين, الذين أن ذهبت وبحثت عنهم سوف أنسى عما كان المقال أصلاً.
لذلك نعم هذا كتاب جيد أن كنت أستاذاً في تاريخ الفن أو مهتماً في الفن. لكنه ليس لك أن كنت حديث العهد بالفن
بالمناسبة الترجمة كانت أكثر من رائعة ما عدا فقرة أن الهوامش أكثر من الكتاب أصلاً. فإذا ذكر هوبزباوم أسم مدينة فستجد هامش من خمس أو ست أسطر يشرح لك هذه المدينة وعدد سكانها والأحداث التاريخية المهمة التي حدثت في هذه المدينة. هذه كلها معلومات زائدة عن الحاجة وأضافت تعقيد وتشويش لكم المعلومات التي يرشقني بها هوبزباوم أصلاً.
علي الاعتراف أن بعض المقالات أعجبنني حقاً وكذلك الكتاب- لا أقصد المحتوى بل الكتاب بذاته كجسم فيزيائي- فتصميم الغلاف عبارة عن أهم اللوحات الفنية في التاريخ بالإضافة إلى أن حجم الخط والترتيب الداخلي هما حقاً ما دفعني إلى الاستمرار بهذا الكتاب إلى النهاية.
"فالمؤرخ الذي يؤدي عمله بشكل روتيني يعلم قراءه, أما المؤرخ الماهر صاحب العقلية الثاقبة فيثير تساؤلات في ذهن قارئه."
"لا بد أن تتذكر الدول ما قاله إرنست رينان:(إن نسيان التاريخ أو حتى إساءة فهمه من أكبر العوامل في بناء أي أمة, وهذا هو السبب في أن تقدم الدراسات التاريخية كثيرًا ما يكون خطرًا على النزعة القومية). وأنا أعتبر أن الواجب الأول للمؤرخين الحديثين أن يكونوا هذا الخطر."
May 11, 2014
A generally stimulating set of essays displaying Hobsbawm's wit and erudition. One highlight was the essay on the crisis, failure, and capitulation of the 20th century avant-garde in the visual arts -- a capitulation which explains why contemporary art is characterized by, as Hobsbawm describes, Neo-Dada and (frequently mediocre) conceptual art. If, like me, you are fond of art nouveau and have wondered why its efflorescence was so brief, the essay on it is another highlight. However, I wish that the essays were selected and arranged to avoid repetition. I realize a scholar will return to the same themes many times over the course of his or her career, but I do not wish to read and re-read, in consecutive or near consecutive essays, the same anecdote about Beatrice Webb shopping for William Morris wallpaper.
February 5, 2019
Вне всяких сомнений, Эрик Хобсбаум был выдающимся историком и талантливым рассказчиком, вот только «Разломанное время» вряд ли может стать подходящей работой для знакомства с гордостью британских левых интеллектуалов. Стоит лишь взять ее в руки и открыть, как она рассыпается на множество мало связанных между собой частей: под одной обложкой уместились эссе, расшифровки лекций и даже рецензии Хобсбаума на книги других историков. Все они объединены лишь формально – тем, что так или иначе посвящены истории XX века. А потому довольно странно сначала читать размышления автора о неизбежном конце эпохи электронных книг, через каких-нибудь полсотни страниц – о жизни евреев в догитлеровской Германии, спустя еще несколько глав – об актуальных угрозах религиозного фанатизма, ну и напоследок – о судьбах русских абстракционистов после прихода к власти советов. И все же, несмотря на отсутствие какой-либо комплексности, «Разломанное время» (в этой книге оно и вправду какое-то скомканное) оказывается увлекательным чтением – достаточно лишь перетасовать главы, опираясь на собственные интересы. Ведь эрудированность Хобсбаума трудно переоценить — парень «знал эти великие времена, когда они были еще совсем маленькими».
May 1, 2020
هذا خامس كتاب اقرؤه لإريك هوبزباوم، ومنذ بدأت القراءة له تولدت لدي قناعة أن ما يكتبه موجه للغرب في المقام الأول، فكتاباته فيها خصوصية وذائقة لا يفهمها إلا أهلها.
وما دفعني إلى الاستمرار في القراءة له، هو التنبيش عن عناوين الكتب التي يتحدث عنها، ولا تكون في الغالب مترجمة إلى العربية.
وما دفعني إلى الاستمرار في القراءة له، هو التنبيش عن عناوين الكتب التي يتحدث عنها، ولا تكون في الغالب مترجمة إلى العربية.
October 22, 2014
Clear-sighted collection of Hobsbawm's writings about culture. It was a great tragedy to lose both Hobsbawm and Judt - the best historian/philosopher/social commentators/writers of the 20th century.
December 11, 2025
The Salzburg Festival asked the eminent historian Eric Hobsbawm to give lectures between 1964 and 2012 about the intertwining of social reality and art. These lectures form the basis for this book which is in effect a series of essays.
This is a book about what happened to art and culture with the disappearance of middle class society at the beginning of the twentieth century. It's about the cultural change of the 1960s when the rules and conventions became frayed for the first time in centuries.
The first chapters are about the state of the arts at the beginning of the 20th Century and there's an appraisal of what came before, mostly in Central Europe. These chapters are followed with discussions about how the 20th Century confronted the breakdown of traditional bourgeois society and the values that held it together.
There's commentary on how our society has become drenched with cultural production that has transformed our ways of apprehending art production, especially by ending the traditional privileged status of the arts in the 'old' bourgeois society.
This is a book about what happened to art and culture with the disappearance of middle class society at the beginning of the twentieth century. It's about the cultural change of the 1960s when the rules and conventions became frayed for the first time in centuries.
The first chapters are about the state of the arts at the beginning of the 20th Century and there's an appraisal of what came before, mostly in Central Europe. These chapters are followed with discussions about how the 20th Century confronted the breakdown of traditional bourgeois society and the values that held it together.
There's commentary on how our society has become drenched with cultural production that has transformed our ways of apprehending art production, especially by ending the traditional privileged status of the arts in the 'old' bourgeois society.
December 26, 2021
Es un conjunto de artículos, prólogos y discursos de Hobsbawm sobre cultura. No tienen orden, ni mucho sentido juntos. Son interesantes individualmente, pero se nota que no es un libro escrito con un objetivo y es simplemente un conjunto de escritos con el nombre de Hobsbawm al lado.
August 13, 2025
The book is not bad, although at some point when so big intellectual wave like Hobsbawm's mind comes at you - is not easy to take and fully understand even half of it...or may be I got lost in translation, at least it's easier to excuse and think this way, than realize that you are actually not smart enough...:)
May 18, 2018
Per natura queste raccolte "svuota cassetti" rischiano di contenere testi di valore eterogeneo, e purtroppo è così anche in questo caso. Qualche buon articolo insieme ad altri assai datati, e a qualche superfluo intervento di cortesia a festival o a convegni.
April 25, 2019
هو عبارة عن مجموعة من الأوراق المتعددة التي كتبها هوبزباوم في الثقافة بالعموم، وهي تتّصل مع بعضها البعض بخيط يكاد لا يُرى، ولا أهمية له. قرأت مجموعة لا بأس بها من المقالات وهي مهمة جدًا، لا سيما قسم "ثقافة العالم البرجوازي"، وقراءة تاريخ اليهود بوصفها أقلية منتجة ومميزة في أوروبا.
April 21, 2022
Ecstacy of an exquisite kind.
November 19, 2022
كتاب ممتع فيه شيء من التكرار؛ لأنه مجموعة مقالات عبر زمن طويل.
August 11, 2021
3,5 Ξεκίνησα πολύ ενθουσιασμένη και ενώ συμφωνώ σε πολλά και μου άρεσε πολύ υπήρχαν και πράγματα με τα οποία διαφώνησα. Συμβαίνουν αυτά φαντάζομαι
February 29, 2016
Está por encima de cualquier libro de Historia, pero de entre las obras de Hobsbawm es el más tedioso para leer. No recomendable para lectores que no disfrutan a pleno los tópicos tratados. Es de lectura compleja, dado que se requiere un nivel de conocimientos previos por encima del promedio, y de muchos datos historiográficos.
Dejando esto de lado, el extraordinario conocimiento del historiador es envidiable y el nivel de detalle de los temas tratados también es ambicioso. Se añade un punto de interés frente al hecho de que se trada del últmo libro escrito por el autor y deja un sentimiento mezclado de fascinación, asombro y optimismo por los sucesos ocurridos durante el siglo XX que se contagian a lo largo de las páginas.
Dejando esto de lado, el extraordinario conocimiento del historiador es envidiable y el nivel de detalle de los temas tratados también es ambicioso. Se añade un punto de interés frente al hecho de que se trada del últmo libro escrito por el autor y deja un sentimiento mezclado de fascinación, asombro y optimismo por los sucesos ocurridos durante el siglo XX que se contagian a lo largo de las páginas.
June 21, 2018
A collection of essays wrote by Hobsbawm in his late years, Fractured Times presented the historian's original thought about the cultural phenomena in contemporary West. Limited by the length of each essay, the arguments in this book may sometimes appeared incomplete or ambiguous. And yet Hobsbawm's rich knowledge concerning the era he has lived still made me interested in his other writing, especially the trilogy of long 19th century. Look forward to finding more about the interwoven web of science, religion, politics, and culture in the crisis and hope of "classical modernity".
Want to read
March 22, 2013
October 9, 2020
Considerado uno de los más notables historiadores de nuestro tiempo, Eric Hobsbawn, nos deja su apéndice póstumo de toda su obra. Este libro en cuestión viene a ser una recopilación de trabajos realizados entre 1964 y 2012. Disertaciones sin el propósito de tener un libro integrado, pues este libro aborda un índice que tiene como mira las transformaciones culturales observadas y vivida por el autor, quien humeo los residuos del Primera Guerra Mundial, transitar por las crujías de la Segunda Guerra Mundial, así como otros acontecimientos del siglo pasado y del presente.
Un tiempo de rupturas. Sociedad y cultura en el siglo XX es un examen al colapso de la alta cultura burguesa del siglo XIX y una dictado de las ruinas que dejo el siglo XX, donde todas las certezas del siglo XIX se transformaron en mentiras, donde se visualizaba el progreso, pero en vez de este, las guerras y el genocidios hicieron trizas del optimismo liberal. En vez de una ciencia racional, merodeaba la física cuántica, que muy pocos hilaban entender. Aborda la tensión latente que se resuelve entre el juego imaginativo del creador y la valoración que la experiencia ante la obra confiere al espectador, relación que finalmente, operará como epicentro de las reflexiones a lo largo del compendio de escritos, marcados por los aspectos que para Hobsbawm resultan nodales en sus transformaciones. La fantasia, la realidad virtual y el comercialismo fueron temas de preocupación para Hobsbawn. La pintura, el teatro, los manifiestos, la música, la lectura, son de los otras tantos temas que nos trae en el mismo.
Como principal historiador marxista del mundo, el rango intelectual de Eric Hobsbawm no tenía rival. Nunca complaciente con la política convencional, a menudo era una voz valiente de disensión. Hoy más que nunca, el trabajo de Hobsbawm merece un examen serio. Fue uno de estos intelectuales de los cuales el abanico del saber se le podía apreciar, dominaba muchos temas, y este libro es una muestra de ello.
De este escritor había escuchado o leído en otros lugares, pero al leer este libro, es un escritor con un gran dominio de la historia y los aspectos culturales. Es un libro que precisa una gran concentración porque te da un paseo por la historia de su siglo.
Un tiempo de rupturas. Sociedad y cultura en el siglo XX es un examen al colapso de la alta cultura burguesa del siglo XIX y una dictado de las ruinas que dejo el siglo XX, donde todas las certezas del siglo XIX se transformaron en mentiras, donde se visualizaba el progreso, pero en vez de este, las guerras y el genocidios hicieron trizas del optimismo liberal. En vez de una ciencia racional, merodeaba la física cuántica, que muy pocos hilaban entender. Aborda la tensión latente que se resuelve entre el juego imaginativo del creador y la valoración que la experiencia ante la obra confiere al espectador, relación que finalmente, operará como epicentro de las reflexiones a lo largo del compendio de escritos, marcados por los aspectos que para Hobsbawm resultan nodales en sus transformaciones. La fantasia, la realidad virtual y el comercialismo fueron temas de preocupación para Hobsbawn. La pintura, el teatro, los manifiestos, la música, la lectura, son de los otras tantos temas que nos trae en el mismo.
Como principal historiador marxista del mundo, el rango intelectual de Eric Hobsbawm no tenía rival. Nunca complaciente con la política convencional, a menudo era una voz valiente de disensión. Hoy más que nunca, el trabajo de Hobsbawm merece un examen serio. Fue uno de estos intelectuales de los cuales el abanico del saber se le podía apreciar, dominaba muchos temas, y este libro es una muestra de ello.
De este escritor había escuchado o leído en otros lugares, pero al leer este libro, es un escritor con un gran dominio de la historia y los aspectos culturales. Es un libro que precisa una gran concentración porque te da un paseo por la historia de su siglo.
September 28, 2017
Mi chiedo chi sia il genio che in Italia ha pensato alla traduzione del titolo. Magari "Fractured Times" tradotto non sembrava così sensazionalistico come "FINE DELLA CULTURA, BASTA, SI TORNA A PIETRE E BASTONI". Ma evidentemente anche il titolo la dice lunga su come sia percepito l'italico popolo dai professionisti italici del libro.
E' il penultimo scritto pubblicato da Hobsbawm e mi sembra molto meno impegnato di tutte le sue opere precedenti. Rimane un'opera comunque interessante, anche se c'è molta meno carne al fuoco di tutte le opere precedenti (insomma, di un autore che ha detto tutto quello che poteva, anche data l'età).
Di approfondito, e comunque riportato en passant, mi sembra di aver notato solo il discorso sugli ebrei orientali, cultura distrutta nell'Olocausto assieme ai loro esponenti. Per il resto si riportano fatti, trattati già da filosofi come Walter Benjamin, sul declino delle arti. Ecco perché "fractured times" ha molto più senso del titolo italiano.
Come opera però non riesce a fare il punto su ciò che sta accadendo, perché è ancora un divenire (forse tra un secolo un nuovo Hobsbawm riuscirà a dare un quadro completo).
E' il penultimo scritto pubblicato da Hobsbawm e mi sembra molto meno impegnato di tutte le sue opere precedenti. Rimane un'opera comunque interessante, anche se c'è molta meno carne al fuoco di tutte le opere precedenti (insomma, di un autore che ha detto tutto quello che poteva, anche data l'età).
Di approfondito, e comunque riportato en passant, mi sembra di aver notato solo il discorso sugli ebrei orientali, cultura distrutta nell'Olocausto assieme ai loro esponenti. Per il resto si riportano fatti, trattati già da filosofi come Walter Benjamin, sul declino delle arti. Ecco perché "fractured times" ha molto più senso del titolo italiano.
Come opera però non riesce a fare il punto su ciò che sta accadendo, perché è ancora un divenire (forse tra un secolo un nuovo Hobsbawm riuscirà a dare un quadro completo).
December 22, 2018
In this book of essays, articles, opinion pieces and lectures (one from the sixties, several from the nineties, and most from the 2000s) Eric Hobsbawm tackles much, though the loose common theme is art and the expressions of bourgeois society.
Topics include feminism, antisemitism, science, film, jazz, the “high” and “low” arts, the myth of the American cowboy, the Bauhaus movement, architecture (undergrounds, metros, and trains keep coming up), religion, politics, and the sixties’ cultural studies (only two or three are unpublished). If anything, this posthumous collections is sometimes too varied in scope.
As I’ve felt reading previous books by the historian, this tome’s breadth and depth makes me wonder whether Hobsbawm is truly the last enciclopedist, a last bastion of knowledge, insight and windom in a now screen-driven, attention-starved digital, and largely unthinking, age. Having read several of his other books, this one serves as a gloomy reminder of how much he is missed.
Topics include feminism, antisemitism, science, film, jazz, the “high” and “low” arts, the myth of the American cowboy, the Bauhaus movement, architecture (undergrounds, metros, and trains keep coming up), religion, politics, and the sixties’ cultural studies (only two or three are unpublished). If anything, this posthumous collections is sometimes too varied in scope.
As I’ve felt reading previous books by the historian, this tome’s breadth and depth makes me wonder whether Hobsbawm is truly the last enciclopedist, a last bastion of knowledge, insight and windom in a now screen-driven, attention-starved digital, and largely unthinking, age. Having read several of his other books, this one serves as a gloomy reminder of how much he is missed.
April 1, 2020
El llibre és, en realitat, una compilació d'articles dispersos de Hobsbawm, sovint sense massa connexió (ni contextualització) i caient en repeticions inevitables. L'obra és interessant perquè l'autor és brillant i cada article ofereix oportunitats per a la reflexió i explorar referències bibliogràfiques massa sovint oblidades o desconegudes que Hobsbawm domina amb gran habilitat. És un llibre interessant per explorar aspectes generals de la societat i cultura contemporànies bàsicament de l'Europa dels segles XIX i, sobretot, XX però penso que hauria fet falta una tria diferent. En qualsevol cas, recomanable.
March 8, 2020
A collection of essays around the theme: what is culture nowadays (20th century and onwards), what it was in the previous centuries, how it changed from one age to the next.
The particular topics for each essay vary somewhat wildly: the role of women in the cultural scene, the importance of the German language as a common language for european culture, what is popular culture and how it came to be, how artistic vanguards failed, etc.
It took me quite some time to finish it, and I know that despite of that I still missed many things, but it was a really enjoyable and interesting read.
The particular topics for each essay vary somewhat wildly: the role of women in the cultural scene, the importance of the German language as a common language for european culture, what is popular culture and how it came to be, how artistic vanguards failed, etc.
It took me quite some time to finish it, and I know that despite of that I still missed many things, but it was a really enjoyable and interesting read.
August 15, 2023
With this being published the year after Hobsbawm’s death it’s difficult to shake off the idea of this being a rushed, cynical cash-in. And unfortunately this notion is well-supported by the quality of the material inside.
This isn’t a bad book, it’s just not that great. He makes some good points and there are some worthwhile and provocative essays, reviews and other pieces, but the quality is too inconsistent and there is a tad too much repetition in places, which give this an uneven feel, but there are some good essays in here too.
This isn’t a bad book, it’s just not that great. He makes some good points and there are some worthwhile and provocative essays, reviews and other pieces, but the quality is too inconsistent and there is a tad too much repetition in places, which give this an uneven feel, but there are some good essays in here too.
January 10, 2018
Полезная, но очень неровная книга: важные статьи перемешаны с рецензиями. не самая показательная и уж точно не самая важная книга Хобсбаума
August 16, 2019
I suspect even at the time there was nothing particularly new or incisive from Hobsbawm here.
October 17, 2020
Artículos y conferencias de Hobsbawm sobre movimientos culturales del mundo de entreguerras. Merece la pena
June 16, 2021
A thought provoking book.
April 27, 2022
Not the best from EH.
February 17, 2024
Ağır seviyede sosyoloji içeren bir kitap.İngilizcesini okuduğumdan bir çok bölümü anlamakta güçlük çektim.
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