Aesthetics: 1958/59
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Weitere beteiligte Personen: | , |
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Cambridge, UK ; Medford, USA
Polity
[2018]
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030051636&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030051636&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Includes bibliographical references and index |
| Umfang: | xii, 350 Seiten |
| ISBN: | 9780745679396 9780745679402 |
Internformat
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Datensatz im Suchindex
| _version_ | 1819381932966805504 |
|---|---|
| adam_text | CONTENTS
Editor’s Foreword
Lecture 1
The situation • The possibility of philosophical aesthetics
today • The connection between philosophy and aesthetics
in Kant • Hegel’s definition of beauty • Aesthetic
objectivity • A critique of ‘aesthetics from above’ • On the
method • The problem of aesthetic relativity • The
objectivity of aesthetic judgement • Aesthetic logic • The
irrationality of art • The work of art as an expression of
naïveté • Basic research in the field of aesthetics
Lecture 2
Not a set of instructions • The individualist
prejudice • Talent • Resistance to aesthetics • The poles
of aesthetic insight: (a) Theoretical reflection • (b) The
experience of artistic practice • Against cultivatedness •
The riddle character • A justification of the philosophy of
art ♦ ‘Aesthetics’ is equivocal • Natural beauty and artistic
beauty • Hegel’s turn away from natural beauty •
Unresolved aspect to natural beauty
Lecture 3
The elusiveness of natural beauty • The model character of
natural beauty • Aura • The experiences of something
VI
CONTENTS
objective • ‘Mood’ • The mediation of natural beauty and
artistic beauty • The historicity of natural beauty • The
sublime in Kant • Aesthetic experience is dialectical in
itself • ‘Disinterested pleasure’
Lecture 4 33
Special sphere of aesthetic semblance * The taboo on
desire • Sublimation • Dissonance ♦ ‘Spring’s command,
sweet need’ • Mimesis • Imitation • Transition
Lecture 5 43
The separation of art from the real world • Play and
semblance • ‘The world once again’ • Art as ‘unfolding of
truth’ • The negation of the reality principle • Expression
of suffering • The participation of art in the process of
controlling nature • Technique • Progress
Lecture 6 54
Does art merely express what has been
destroyed? • Restoring the body • Start from the most
advanced art • The expressive ideal of expressionism •
Principium stilisationis • Construction • The dialectic of
expression and construction
Lecture 7 65
Nature is historical • Construction and form • A critique of
the creator role • The aversion to expression • The reduction
of the individual • Falling silent after Auschwitz • The crisis
of meaning • The limits of construction
Lecture 8 75
The crisis of meaning (contd.) • Giving a voice to mutilated
nature • Expression of alienation • Defamiliarization •
Consistency of construction • Aleatory music •
The problem of characters
Lecture 9 86
The Platonic doctrine of beauty • Introduction to an
interpretation of the Phaedrus • Enthousiasmos • Beauty as
a form of madness • Being seized • Pain as a constituent of
CONTENTS
the experience of beauty • Not a definition • Idea • The
subjectivity of beauty • The imitation of the idea of beauty •
The aspect of danger in beauty
Lecture 10
Interpretation of the Pbaedrus, contd. • The paradox of
beauty • The image of beauty • Affinity with death •
Elevating oneself above the contingent world • Kant’s theory
of the sublime • The sensual and the spiritual in art •
Force field
Lecture 11
Ontology and dialectic in Plato • The relationship between
beauty and art • The aspect of ugliness • The aspect of
sensual pleasure • Aesthetic experience • ‘Throw away in
order to gain!’ • The meaning of the whole
Lecture 12
Recapitulation • Enjoyment of art • The inhabitant •
Fetishism • Aesthetic enjoyment • The suspension
of the principium individuationis • Understanding works
of art
Lecture 13
Reflective co-enactment • Aesthetic stupidity • Translation,
commentary, critique • The spiritualization of art •
Constructivism • The dialectic of sensual and spiritual
aspects in the work of art
Lecture 14
Spiritual content • The structural context • Force field •
The allergy to sensual pleasure • Aesthetics without
beauty
Lecture 15
Correcting the definition of the work of art •
Alienation • Reference to the object in visual art *
‘Abstract’ art • Form as sedimented content •
Loss of tension • Theoretical preconditions of
artistic experience
vii
96
106
116
126
135
145
viii
CONTENTS
Lecture 16
Beauty and truth • Naturalism • Truth of expression •
Coherence • Necessity • The idea of beauty as something
internally in motion • Homeostasis • The mediated truth
Lecture 17
Subjectivism and objectivism in aesthetics • Hegel’s critique
of taste • The physiognomy of the aesthete • Goût quand
même • Accumulated experience • Fashion
Lecture 18
A critique of aesthetic subjectivism • A critique of
psychological aesthetics • Methodology • The immediacy
of subjective reactions is mediated • The consumption of
prestige • The emotional relationship with art
Lecture 19
Recapitulation • ‘The Tired Businessman’s Show’ •
Conceptless synthesis • The cognition of art • Defensive
reactions to modern art
Lecture 20
Recapitulation • The rancour of those left behind towards
new art • Semi-literacy • The alienation of modern art from
consumption is itself social • Lukâcs’s pseudo-realism • The
concept of ideology • Kant’s subjectivism • A critique of the
theory of aesthetic experience • The ambiguity of the work
of art
Lecture 21
Recovery of the truth • The idea lies in the totality of
aspects • being completely filled with the matter’ •
Experience • The psychology of the artist • Empathy •
The work of art as objectified spirit • Artistic production
Adorno’s Notes for the Lectures
Editor’s Notes
Index
155
165
175
185
195
206
217
264
338
‘adorno s lectures provide a fascinating glimpse into the philo-
sophical workshop where his ideas were forged and developed, and this
lecture course on aesthetics from the late 1950s is no exception. With
an irrepressible sense of intellectual adventure, Adorno argues with
the giants of the German tradition in the philosophy of art, interprets
Plato’s theory of beauty in the Phaedrus, and struggles to make sense
of the music ofjohn Cage. He offers a virtuoso series of variations on
his central claim that, in art, we experience reason “in the form of its
otherness”, as a “particular resistance” to the instrumental rationality
which dominates our lives.’
— Peter Dews, University of Essex
‘these lectures are much more than an early record of Adorno’s
path towards his late, uncompleted masterwork Aesthetic Theory, They
represent an independent and often revelatory statement of his think-
ing on aesthetics in the late 1950s. This book is an indispensable ad-
dition to the English-language reader’s understanding of this central
thinker.’
— Michael Jennings, Princeton University
This volume of lectures on aesthetics, given by Adorno in the winter semester of
1958 9, formed the foundation for his later text Aesthetic Theory, widely regarded
as one of his greatest works.
The lectures cover a wide range of topics, from an intense analysis of the work
of Georg Eukacs to a sustained reflection on the theory of aesthetic experience,
from an examination of works by Plato, Kant. Hegel, Schopenhauer, Kierkegaard
and Benjamin to a discussion of the latest experiments of john Gage, attesting
to the virtuosity and breadth of Adorno s engagement. All the while, Adorno
remains deeply connected to his surrounding context, offering us a window onto
the artistic, intellectual and political confrontations that shaped life in post-war
Germany.
This volume will appeal to a broad range of students and scholars in the hu-
manities and social sciences, as well as to anyone interested in the development
of critical theory.
thkodor w. adorno (1903—1969), a prominent member of the Frankfurt
School, was one of the most influential thinkers of the twentieth century in the
areas of social theory, philosophy and aesthetics.
9
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polity
politybooks.com
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| title | Aesthetics 1958/59 |
| title_GND | (DE-588)1148349057 |
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| title_auth | Aesthetics 1958/59 |
| title_exact_search | Aesthetics 1958/59 |
| title_full | Aesthetics 1958/59 Theodor W. Adorno ; edited by Eberhard Ortland ; translated by Wieland Hoban |
| title_fullStr | Aesthetics 1958/59 Theodor W. Adorno ; edited by Eberhard Ortland ; translated by Wieland Hoban |
| title_full_unstemmed | Aesthetics 1958/59 Theodor W. Adorno ; edited by Eberhard Ortland ; translated by Wieland Hoban |
| title_short | Aesthetics |
| title_sort | aesthetics 1958 59 |
| title_sub | 1958/59 |
| topic | Aesthetics Ästhetik (DE-588)4000626-8 gnd |
| topic_facet | Aesthetics Ästhetik |
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