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

By Lambert Zuidervaart

Theodor Adorno's Aesthetic thought is an unlimited labyrinth that any one attracted to smooth aesthetic thought needs to at your time input. as a result of his big trouble of an analogous order as Derrida - Adorno's reception has been slowed by means of the inability of a accomplished and understandable account of the intentions of his aesthetics. this can be the 1st e-book to place Aesthetic concept into context and description the most rules and proper debates, providing readers a invaluable 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 inspiration 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 short 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, reading how he situates paintings in society, creation, politics, and heritage and uncovering the social, political, and historic dimensions of his notion of inventive 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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Extra info for Adorno's Aesthetic Theory: The Redemption of Illusion

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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. "87 Although directed at the ideologies of scientism and technicism, Adorno's critique of instrumental reason threatens to reject reason in general, making it difficult to produce an immanent critique of contemporary society and to locate a historical basis for society's transformation.

In the first place, the conflict between Western Marxists and Marxist-Leninists is a real conflict, one that animates the accounts of Merleau-Ponty, Anderson, and Jacoby. In the second place, this conflict cannot simply be summarized as one between critical and scientific Marxism. 43 To absorb "Western Marxism" into "critical Marxism" would be to collapse an historiographic category into a sociological typology. If the theory of Western Marxism is muddled, then perhaps this is due in part to the tangled history from which it arises.

The main aesthetic problems considered by Marx include the origins of aesthetic sensibility, the alienation of art, the class conditioning of artistic values, the merits of literary realism, and the relation of basic human values to the values of art. 2 The comprehensive character of Aesthetic Theory gives it great significance for Marxist aesthetics. Indeed, Adorno's idea of artistic truth is a benchmark for the aesthetic issues contained in Marx's project and revitalized by Western Marxism. This chapter reconstructs three aesthetic issues from Adorno's debates with Benjamin, Brecht, and Lukács.

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