Abstract

In contrast to other approaches, `modernity' in this article is not dealt with as a historical concept but as a normative-aesthetic term and as a mythical narrative in the sense of Nietzsche's `eternal recurrence of the same'. Paradoxically, there still exists a semantic shift between different historical concepts of modernity beginning in late antiquity and the Middle Ages up to the present confusions about `postmodernity'. However, the aesthetical bias of the discourse of modernity prevents any serious interpretation which is able to refer these semantic shifts directly to some clear and incontestable socio-structural facts and developments. In its contemporary sociological form this discourse overlaps on the contrary with some main trends in aesthetic theory and practice: the exchangeability between `old' and `new' and the permanent suspension of the boundaries between `art' and `life'. Consequently, aesthetics as well as sociology are describing modernity as a cultural system which is `playing' with its own fundamental differentiations between `in' and `out' or self-reference and other-reference