Adorno's Modernism: Art, Experience, and Catastrophe by Espen Hammer PDF
By Espen Hammer
Theodor W. Adorno's aesthetics has ruled discussions approximately artwork and aesthetic modernism seeing that international struggle II, and keeps to notify modern theorizing. Situating Adorno's aesthetic conception within the context of post-Kantian ecu philosophy, Espen Hammer explores Adorno's serious view of artwork as engaged in reconsidering primary positive factors of our relation to nature and truth.
His e-book is based round what Adorno considered as the modern aesthetician's overarching activity: to accomplish a imaginative and prescient of the destiny of paintings within the glossy global, whereas demonstrating its designated cognitive strength. Hammer bargains a full of life exam of Adorno's paintings in the course of the valuable challenge of what complete human self-actualization will require, and in addition discusses the broader philosophical importance of aesthetic modernism.
This e-book could be a worthy source for students and scholars of social philosophy, paintings, and aesthetics.
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Additional resources for Adorno's Modernism: Art, Experience, and Catastrophe
Another important concern is the relation between appearance and essence. 18–19. 2 20 Art and the problem of modernity respond to empirical phenomena but to something more essential yet intangible, then in what sense is art really critical? Is Adorno withdrawing his favored art from any genuine social awareness? Drawing on Hegel’s account of spirit, I aim to show that Adorno dismisses a simple opposition between appearance and essence. While instrumental reason can be approached as a category of social reproduction, it has no existence independently of the way it is made manifest in social practice.
Spirit and suffering 21 domain of transcendental freedom with reference to which we may view ourselves as capable of acting without any preceding cause. Although this doctrine was tremendously influential, and if acceptable offered support to those who identified with its motivating humanist cause (it could at least be argued that the attribution of freedom does not contradict the attribution of embodiment and subjection to natural law), many of Kant’s contemporaries felt that the price it exacted was far too high.
However, it also hints at the possibility – however distant – of a reconciliation between spirit and nature. 25 The answer to the first question will have to be grounded in the claim that, like philosophy and religion, art is a medium of spirit’s embodiment and development. Spirit is neither “subjective” in the sense of being some kind of activity taking place in the foro interno of the individual human mind, nor is it “objective” in the sense of existing only “in itself,” as the outcome of a given set of natural occurrences and circumstances.
Adorno's Modernism: Art, Experience, and Catastrophe by Espen Hammer