By Lambert Zuidervaart
Theodor Adorno's Aesthetic concept is an enormous labyrinth that any one drawn to smooth aesthetic concept needs to at your time input. as a result of his giant trouble of an analogous order as Derrida - Adorno's reception has been slowed by means of the shortcoming of a complete and understandable account of the intentions of his aesthetics. this is often the 1st publication to place Aesthetic idea into context and description the most principles and appropriate debates, providing readers a beneficial advisor via this large, tough, 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 elements: Context, content material, and Critique. the 1st half deals a quick 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, reading how he situates artwork in society, construction, politics, and background and uncovering the social, political, and historic dimensions of his concept of creative fact. The 3rd half evaluates Adorno's contribution via confronting it with the evaluations of Peter B?rger, Frederic Jameson, and Albrecht Wellmer.
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Extra info for Adorno's Aesthetic Theory: The Redemption of Illusion
Many listeners are easily impressed with the stellar performances of a Toscanini. Such listeners go in for impressionistic color effects; they content themselves with a standardized repertoire; they love memorable moments ripped out of context. " 16 Nevertheless, some art, although part of the system, does transcend it. This is the modern music of Schönberg, Webern, and others. 17 It offends aesthetic contemplation without promoting the regression of listening, and it voices the radical needs that mass mediated music suppresses.
Adorno points to a new fetishism of commercial success in the production of recorded music. html[21/04/2011 9:20:50 AM] page_31 < previous page page_31 next page > Page 31 sumers, whose needs are manipulated. Many listeners are easily impressed with the stellar performances of a Toscanini. Such listeners go in for impressionistic color effects; they content themselves with a standardized repertoire; they love memorable moments ripped out of context. " 16 Nevertheless, some art, although part of the system, does transcend it.
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.
Adorno's Aesthetic Theory: The Redemption of Illusion by Lambert Zuidervaart