By Lambert Zuidervaart
Theodor Adorno's Aesthetic conception is an enormous labyrinth that any one attracted to smooth aesthetic thought needs to at a while input. as a result of his titanic hassle of an analogous 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 booklet to place Aesthetic thought into context and description the most rules and suitable debates, delivering readers a priceless advisor via this massive, tricky, yet revelatory paintings. Its prolonged argument is that, regardless of Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his thought of creative fact content material bargains an important insights for modern philosophical aesthetics. The 11 chapters are divided into 3 components: Context, content material, and Critique. the 1st half bargains a short biography, describes Adorno's debates with Benjamin, Brecht, and Luk?cs, and descriptions his philosophical software. the second one half is an interpretation of Adorno's aesthetics, studying how he situates paintings in society, creation, politics, and historical past and uncovering the social, political, and ancient dimensions of his concept of creative fact. The 3rd half evaluates Adorno's contribution by way of confronting it with the evaluations of Peter B?rger, Frederic Jameson, and Albrecht Wellmer.
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Additional resources for Adorno's Aesthetic Theory: The Redemption of Illusion
This conjunction gives a more prominent place to aesthetics and cultural studies than was common in classical Marxism. 55 Anderson's comment is particularly apt with regard to critical theory. Detailed attention to contemporary art and culture is one of critical theory's most striking characteristics. It is also controversial, eliciting dramatically different responses. html[21/04/2011 9:20:40 AM] page_18 < previous page page_18 next page > Page 18 The two camps of dogmatic critics dislike this emphasis, but for conflicting reasons.
Instead, my aim is to uncover key issues in Western Marxist aesthetics and to see how they intersect the Adornian problematic of truth. 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.
Rüdiger Bubner, for example, argues that critical theory has difficulty with praxis because it reverts to a Young Hegelian position. Young Hegelians such as Ludwig Feuerbach and Bruno Bauer, who faulted Hegel's philosophy for its conformist isolation, tried to put this philosophy into practice through their own critical reflections on society. As Marx and Engels demonstrate in The German Ideology, however, the results are no more practical and considerably less insightful than Hegel's philosophy.
Adorno's Aesthetic Theory: The Redemption of Illusion by Lambert Zuidervaart