Details

Aesthetics


Aesthetics


1. Aufl.

von: Theodor W. Adorno, Eberhard Ortland

25,99 €

Verlag: Wiley
Format: EPUB
Veröffentl.: 10.11.2017
ISBN/EAN: 9780745694870
Sprache: englisch
Anzahl Seiten: 376

DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.

Beschreibungen

<p>This volume of lectures on aesthetics, given by Adorno in the winter semester of 1958–9, formed the foundation for his later <i>Aesthetic Theory</i>, widely regarded as one of his greatest works. </p> <p>The lectures cover a wide range of topics, from an intense analysis of the work of Georg Lukács 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 Cage, 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. </p> <p>This volume will appeal to a broad range of students and scholars in the humanities and social sciences, as well as anyone interested in the development of critical theory.</p>
<p>Editor's Foreword</p> <p><b>LECTURE 1</b><br />The situation<br />The possibility of philosophical aesthetics today<br />The connection between philosophy and aesthetics in Kant<br />Hegel's definition of beauty<br />Aesthetic objectivity<br />A critique of 'aesthetics from above'<br />On the method<br />The problem of aesthetic relativity<br />The objectivity of aesthetic judgement<br />Aesthetic logic<br />The irrationality of art<br />The work of art as an expression of naïveté<br />Basic research in the field of aesthetics</p> <p><b>LECTURE 2</b><br />Not a set of instructions<br />The individualist prejudice<br />Talent<br />Resistance to aesthetics<br />The poles of aesthetic insight: (a) Theoretical reflection; (b) The experience of artistic practice<br />Against cultivatedness<br />The riddle character<br />A justification of the philosophy of art<br />'Aesthetics' is equivocal<br />Natural beauty and artistic beauty<br />Hegel's turn away from natural beauty<br />Unresolved aspect to natural beauty</p> <p><b>LECTURE 3</b><br />The elusiveness of natural beauty<br />The model character of natural beauty<br />Aura<br />The experiences of something objective<br />'Mood'<br />The mediation of natural beauty and artistic beauty<br />The historicity of natural beauty<br />The sublime in Kant<br />Aesthetic experience is dialectical in itself <br />'Disinterested pleasure'</p> <p><b>LECTURE 4</b><br />Special sphere of aesthetic semblance<br />The taboo on desire<br />Sublimation<br />Dissonance<br />'Spring's command, sweet need'<br />Mimesis<br />Imitation<br />Transition</p> <p><b>LECTURE 5</b><br />The separation of art from the real world<br />Play and semblance<br />'The world once again'<br />Art as 'unfolding of truth'<br />The negation of the reality principle<br />Expression of suffering<br />The participation of art in the process of controlling nature<br />Technique<br />Progress</p> <p><b>LECTURE 6</b><br />Does art merely express what has been destroyed?<br />Restoring the body<br />Start from the most advanced art<br />The expressive ideal of expressionism<br />Principium stilisationis<br />Construction<br />The dialectic of expression and construction</p> <p><b>LECTURE 7</b><br />Nature is historical<br />Construction and form<br />A critique of the creator role<br />The aversion to expression<br />The reduction of the individual<br />Falling silent after Auschwitz<br />The crisis of meaning<br />The limits of construction</p> <p><b>LECTURE 8</b><br />The crisis of meaning (contd.)<br />Giving a voice to mutilated nature<br />Expression of alienation<br />Defamiliarization<br />Consistency of construction<br />Aleatory music<br />The problem of characters</p> <p><b>LECTURE 9</b><br />The Platonic doctrine of beauty<br />Introduction to an interpretation of the Phaedrus<br />Enthousiasmos<br />Beauty as a form of madness<br />Being seized<br />Pain as a constituent of the experience of beauty<br />Not a definition<br />Idea<br />The subjectivity of beauty<br />The imitation of the idea of beauty<br />The aspect of danger in beauty</p> <p><b>LECTURE 10</b><br />Interpretation of the Phaedrus, contd.<br />The paradox of beauty<br />The image of beauty<br />Affinity with death<br />Elevating oneself above the contingent world Kant's theory of the sublime<br />The sensual and the spiritual in art<br />Force field</p> <p><b>LECTURE 11</b><br />Ontology and dialectic in Plato<br />The relationship between beauty and art<br />The aspect of ugliness<br />The aspect of sensual pleasure<br />Aesthetic experience<br />'Throw away in order to gain!'<br />The meaning of the whole</p> <p><b>LECTURE 12</b><br />Recapitulation<br />Enjoyment of art<br />The inhabitant<br />Fetishism<br />Aesthetic enjoyment<br />The suspension of the principium individuationis<br />Understanding works of art</p> <p><b>LECTURE 13</b><br />Reflective co-enactment<br />Aesthetic stupidity<br />Translation, commentary, critique<br />The spiritualization of art<br />Constructivism<br />The dialectic of sensual and spiritual aspects in the work of art</p> <p><b>LECTURE 14</b><br />Spiritual content<br />The structural context<br />Force field<br />The allergy to sensual pleasure<br />Aesthetics without beauty</p> <p><b>LECTURE 15</b><br />Correcting the definition of the work of art<br />Alienation<br />Reference to the object in visual art<br />'Abstract' art<br />Form as sedimented content<br />Loss of tension<br />Theoretical preconditions of artistic experience</p> <p><b>LECTURE 16</b><br />Beauty and truth<br />Naturalism<br />Truth of expression<br />Coherence<br />Necessity<br />The idea of beauty as something internally in motion<br />Homeostasis<br />The mediated truth</p> <p><b>LECTURE 17</b><br />Subjectivism and objectivism in aesthetics<br />Hegel's critique of taste<br />The physiognomy of the aesthete<br />Goût quamd même<br />Accumulated experience<br />Fashion</p> <p><b>LECTURE 18</b><br />A critique of aesthetic subjectivism<br />A critique of psychological aesthetics<br />Methodology<br />The immediacy of subjective reactions is mediated<br />The consumption of prestige<br />The emotional relationship with art</p> <p>LECTURE 19<br />Recapitulation<br />'The Tired Businessman's Show'<br />Conceptless synthesis<br />The cognition of art<br />Defensive reactions to modern art</p> <p><b>LECTURE 20</b><br />Recapitulation<br />The rancour of those left behind towards new art<br />Semi-literacy<br />The alienation of modern art from consumption is itself social<br />Lukács's pseudo-realism<br />The concept of ideology<br />Kant's subjectivism<br />A critique of the theory of aesthetic experience<br />The ambiguity of the work of art</p> <p><b>LECTURE 21</b><br />Recovery of the truth<br />The idea lies in the totality of aspects<br />'... being completely filled with the matter'<br />Experience<br />The psychology of the artist<br />Empathy<br />The work of art as objectified spirit<br />Artistic production</p> <p>Adorno's Notes for the Lectures</p> <p>Editor's Notes</p> <p>Index</p>
"Adorno's lectures provide a fascinating glimpse into the philosophical 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 <i>Phaedrus</i>, and struggles to make sense of the music of John 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."<br /> <b>Peter Dews, University of Essex</b> <br /><br /> "These lectures are much more than an early record of Adorno's path toward his late, uncompleted masterwork, <i>Aesthetic Theory</i>. They represent an independent and often revelatory statement of his thinking on aesthetics in the late 1950's. This book is an indispensable addition to the English-language reader's understanding of this central thinker."<br /> <b>Michael Jennings, Princeton University</b>
<b>Theodor W. Adorno</b> (1903-1969), a prominent member of the Frankfurt School, was one of the most influential thinkers of the 20th century in the areas of social theory, philosophy and aesthetics.

Diese Produkte könnten Sie auch interessieren:

A Companion to Nietzsche
A Companion to Nietzsche
von: Keith Ansell-Pearson
EPUB ebook
42,99 €
You've Got To Be Kidding!
You've Got To Be Kidding!
von: John Capps, Donald Capps
EPUB ebook
20,99 €
A Companion to Phenomenology and Existentialism
A Companion to Phenomenology and Existentialism
von: Hubert L. Dreyfus, Mark A. Wrathall
EPUB ebook
43,99 €