By David Cunningham, Nigel Mapp

ISBN-10: 0826487521

ISBN-13: 9780826487520

ISBN-10: 1847141838

ISBN-13: 9781847141835

Regardless of the hot upsurge of curiosity in Theodor Adorno's paintings, his literary writings stay often overlooked. but literature is a vital aspect in his aesthetic conception. construction at the present emergent curiosity in sleek philosophical aesthetics, this e-book deals a wide-ranging account of the literary parts of Adorno's considering. Bringing jointly unique essays from a unique overseas workforce of individuals, it bargains the reader a common course during the significant components of Adorno's paintings during this region. it's divided into 3 sections, facing the concept that of literature, with poetry and poetics, and with modernity, drama and the radical respectively. even as, the e-book presents a transparent experience of the original characteristics of Adorno's philosophy of literature through significantly touching on his paintings to a few different influential theorists and theories together with modern postmodernist inspiration and cultural experiences.

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Rather than thinking the significance of art's relation to what the enlightenment represses through an essentially linguistically mediated narrative, what is suggested is a model in which this repression is absolved through the dynamically disjunctive constellation of arts, as that which emerges through what they are not. Thus, rather than treat the antagonism of the arts as a consequence of entrenched alienation, it is conceived as rendering negatively what cannot be rendered positively: that which enlightenment represses: Over and above their empty classificatory concept, we have only negatively unified the arts [Kunstarten] in terms of content: they all repel empirical reality, and tend towards the formation of a sphere qualitatively opposed to it: historically, they secularize the magical and the sacred.

In opposition to diose who present the suspension of aesthetic discrimination as favouring a more democratic pedagogy, Adorno suggests that diose who refuse to discriminate may be colluding in the continued cultural deprivation that is the basis of 'mass' taste. This sets die critics of aesthetic elitism in a more dialectical (not to say equivocal) light: as lending themselves, despite their progressive claims, to a conservative inhibition of popular access to high culture. In condoning a status quo in which readers are to setde for what diey already like, or can identify with, rather than what they might odierwise come to appreciate, this sets a seal of approval on a comfortable radier than ecstatic conception of personal liberation and cultural fulfilment.

DE: 12—13; GS 3: 34) 18 Adorno and Literature The task of the critical self-reflection of the enlightenment for Adorno and Horkheimer is not to try and recover the prelapsarian origin of language or Ursprache immediately. Since this origin is identified with a traumatic threat to self-preservation, this is hardly salvation. And since that origin is necessarily mediated by subsequent forms of culture (such as language as it developed), what that origin is can, at best, only be negatively conceived.

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Adorno And Literature by David Cunningham, Nigel Mapp

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