Art and Aesthetics after Adorno (Townsend Papers in the Humanities)

Theodor Adorno's Aesthetic Theory (1970) bargains essentially the most robust and complete reviews of artwork and of the self-discipline of aesthetics ever written. The paintings deals a deeply serious engagement with the historical past and philosophy of aesthetics and with the traditions of ecu paintings in the course of the center of the 20 th century. it truly is coupled with bold claims approximately what aesthetic idea needs to be. however the cultural horizon of Adorno's Aesthetic Theory was once the area of excessive modernism, and lots more and plenty has occurred when you consider that then either in thought and in perform. Adorno's robust imaginative and prescient of aesthetics demands reconsideration during this mild. needs to his paintings be defended, up to date, resisted, or just left at the back of? This quantity gathers new essays by means of major philosophers, critics, and theorists writing within the wake of Adorno which will tackle those questions. They carry in universal a deep recognize for the facility of Adorno's aesthetic critique and a priority for the way forward for aesthetic concept based on contemporary advancements in aesthetics and its contexts.

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Frankfurt, 1977), 14: pp. 140ff. at the additional equation of “sound” with “sign” in Hegel, and consequent circularity of the suggestion of the “end of the cultured” his dialectical historical past of paintings varieties proposes, see my “From the Pyramids to Romantic Poetry: Housing the Spirit in Hegel,” in Rereading Romanticism, ed. Martha Helfer (Amsterdam, 2000), pp. 327–66. 12 thirteen 106 Cf. Adorno, “Kulturkritik,” p. 15: “Versperrt ist dem Kulturkritiker die Einsicht, dass die Verdinglichung des Lebens selbst nicht auf einem Zuviel, sondern einen Zuwenig an Aufklärung beruhe und dass die Verstümmelungen, welche der Menschheit von der gegenwärtigen partikularistischen Rationalität angetan werden, Schandmale der totalen Irrationalität sind” (The cultural critic is blocked from the perception that the reification of existence rests now not on an excessive amount of yet on too little enlightenment, and that the mutilations that current, particularistic rationality inflicts upon guy are the stigmata of overall irrationality). T. W. Adorno, “Cultural feedback and Society,” in Prisms, trans. Samuel and Shierry Weber (Cambridge, 1981), pp. 17–34 (23; emphases additional for clarity). On at the least one vital social gathering, whilst redundancy in English isn't at factor, the Webers equally translate Sache as “object,” might be to be able to underscore previous makes use of of the latter time period: “No thought, now not even that that's actual, is secure from perversion into fable as soon as it has renounced a spontaneous relation to the item [Objekt]. Dialectics needs to safeguard by contrast at the least opposed to enthrallment within the cultural item [Kulturobjekt]. it will probably subscribe neither to the cult of the brain nor to hatred of it. The dialectical critic of tradition needs to either perform tradition and never take part. purely then does he do justice to his item Claudia Brodsky [Sache] and to himself” (p. 33). we are going to go back to this passage. 14 Throughout Ästhetische Theorie, for instance, “Objekt” is used every time Hegel’s “subject-object dialectic” is at once lower than dialogue (see pp. 244–62 esp. ), yet that's the place Adorno’s specification of “object” as observe or which means kind of ends. whereas “Gegenstand” and “Sache” are often exclusive from “Objekt” of their connotation of concrete issues, that contrast, untenable in its English translation, usually doesn't delay good in Adorno’s personal phraseology, “Gegenstand” occasionally taking over a connotation of mimetic content material in addition to its literal which means of “object,” and “Sache” conveying a minimum of the subsequent disparate senses: that of an highbrow factor or query; of a literal “thing”; or of a dialectically required apposite time period to “Objekt”: “Die Subject-Objekt-Dialektik trägt bei Hegel in der Sache sich zu. Zu denken ist auch ans Verhältnis von Subjekt und Objekt im Kunstwerk, soweit es mit Gegenständen zu tun hat. Es ändert sich geschichtlich, lebt jedoch nach auch in den ungegenständlichen Gebilden, die zum Gegenstand Stellung beziehen, indem sie ihn tabuieren (p. 244–45); “Im Gebilde ist Subjekt weder der Betrachter noch der Schöpfer noch absoluter Geist, vielmehr der an die Sache gebundene, von ihr präformiert, seinerseits durchs Objekt vermittelt” (p.

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