Download PDF by Lambert Zuidervaart: Adorno's Aesthetic Theory: The Redemption of Illusion

By Lambert Zuidervaart

ISBN-10: 0262240327

ISBN-13: 9780262240321

Theodor Adorno's Aesthetic thought is an unlimited labyrinth that any one attracted to sleek aesthetic conception needs to at it slow input. due to his huge hassle of a similar order as Derrida - Adorno's reception has been slowed by way of the inability of a entire and understandable account of the intentions of his aesthetics. this can be the 1st e-book to place Aesthetic conception into context and description the most principles and proper debates, providing readers a useful consultant via this massive, tough, yet revelatory paintings. Its prolonged argument is that, regardless of Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his suggestion of creative fact content material bargains an important insights for modern philosophical aesthetics. The 11 chapters are divided into 3 elements: Context, content material, and Critique. the 1st half bargains a quick biography, describes Adorno's debates with Benjamin, Brecht, and Luk?cs, and descriptions his philosophical application. the second one half is an interpretation of Adorno's aesthetics, studying how he situates artwork in society, creation, politics, and heritage and uncovering the social, political, and historic dimensions of his notion of creative fact. The 3rd half evaluates Adorno's contribution by way of confronting it with the reviews of Peter B?rger, Frederic Jameson, and Albrecht Wellmer.

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The first is a reduction in conceptual categories. The second is a chasm between utopia and reality. Together, they make for a highly paradoxical critique of reason's role in human history. Like Habermas, Wellmer traces both limitations back to Marx. Concerning the first limitation, Wellmer suggests that there is a tension between Marx's concrete analyses and his formal categories. Whereas Marx's concrete analyses of social history treat forces and relations of production as mutually irreducible factors in the historical process, his formal categories reduce the relations of production to forces of production.

By restoring to her a social role. Such attempts are in vain. Today, however, autonomous art shows signs of being blind (9/1 2). As this passage suggests, Adorno finds the autonomy of art significant, unavoidable, and disturbing. Although the concept of autonomy needs further elaboration, it can be equated for now with the freedom of art from religious, political, and other social roles. Within an unfree society, such freedom has come to afflict art itself. In fact, Adorno says, artistic freedom performs an ideological function: "The principle of artistic autonomy willy-nilly creates the false impression that the world outside is .

1 Artistic Autonomy No other debate in Western Marxist aesthetics has received more commentary than that between Adorno and Benjamin in the 1930s. Apart from the inherent fascination of this debate, there are quasi-political reasons for such attention. Although Adorno did much to preserve Benjamin's contributions, some of his activist students thought Benjamin provided a "more Marxist" alternative to Adorno's aesthetics. When Habermas declared in 1972 that Adorno "was certainly the better Marxist," the lines of battle were clearly drawn.

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Adorno's Aesthetic Theory: The Redemption of Illusion by Lambert Zuidervaart


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