By Lambert Zuidervaart
Theodor Adorno's Aesthetic thought is an unlimited labyrinth that any one attracted to smooth aesthetic conception needs to at your time input. due to his giant trouble of a similar order as Derrida - Adorno's reception has been slowed via the shortcoming of a entire and understandable account of the intentions of his aesthetics. this is often the 1st e-book to place Aesthetic concept into context and description the most rules and suitable debates, supplying readers a important advisor via this large, tricky, yet revelatory paintings. Its prolonged argument is that, regardless of Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his proposal 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, interpreting how he situates artwork in society, creation, politics, and heritage and uncovering the social, political, and historic dimensions of his proposal of inventive fact. The 3rd half evaluates Adorno's contribution by means of 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
My brief survey of Western Marxism and critical theory helps set the stage for an interpretation that spotlights Adorno's idea of artistic truth. Critical theory provides a response to the generative challenges of Western Marxism, and, as we shall see in more detail, the autonomism, cognitivism, and modernism of Aesthetic Theory reflect critical theory's accounts of advanced capitalism, the theory-praxis nexus, and instrumental rationality. html[21/04/2011 9:20:47 AM] page_27 < previous page page_27 next page > Page 27 debates with Adorno echo across the pages of Aesthetic Theory: Walter Benjamin, Bertolt Brecht, and Georg Lukács.
Writings from this time by Lukács, Korsch, and Gramsci became the seminal sources of Western Marxism as an intellectual movement. Toward the end of the 1960s the movement of Western Marxism shades into a tradition as its contributions come under intense scrutiny and gain a wide reception in conjunction with other schools of Marxism. These other schools include two of importance in the Anglo-American world: the Della Volpe School, including Lucio Colletti, and structuralist Marxism, including Louis Althusser.
The critics of critical theory raise three sets of issues that are relevant for understanding Adorno's aesthetics. The first concerns critical theory's attempt to grasp contemporary society and culture as a totality. A second set pertains to a postulated unity of theory and praxis. A third group clusters around the sociohistorical role of rationality. Each set overlaps debates in Western Marxist aesthetics concerning, respectively, artistic autonomy, political art, and aesthetic modernism, debates that directly inform Adorno's idea of artistic truth.