Adorno's Modernism: Art, Experience, and Catastrophe - download pdf or read online
By Espen Hammer
Theodor W. Adorno's aesthetics has ruled discussions approximately paintings and aesthetic modernism on the grounds that global struggle II, and maintains to notify modern theorizing. Situating Adorno's aesthetic conception within the context of post-Kantian ecu philosophy, Espen Hammer explores Adorno's severe view of paintings as engaged in reconsidering basic positive aspects of our relation to nature and truth.
His ebook is established round what Adorno considered as the modern aesthetician's overarching job: to accomplish a imaginative and prescient of the destiny of artwork within the glossy international, whereas demonstrating its specified cognitive capability. Hammer bargains a full of life exam of Adorno's paintings during the significant challenge of what complete human self-actualization will require, and likewise discusses the broader philosophical value of aesthetic modernism.
This e-book could be a priceless source for students and scholars of social philosophy, artwork, and aesthetics.
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Extra info for Adorno's Modernism: Art, Experience, and Catastrophe
In Elements of the Philosophy of Right, Hegel characterizes modernity – the modern state, if not in its actuality then at least in its potentiality – as offering opportunities for attaining full freedom and reconciliation in precisely this sense. After the end of the Napoleonic wars and the expansion of ideals of freedom to a constitutionally based monarchy composed of politically committed citizens endowed with an extensive charter of rights as well as meaningful social memberships, the basic institutional framework within which such a pursuit could start to make sense is supposed to be present.
The instrumentality-claim, though, is the most straightforward, and I will start with that. It seems to come in at least four versions: (1) Reason today (or in modernity) is instrumental. ) 32 Max Horkheimer, Eclipse of Reason (London and New York: Continuum, 2008), Chapter 1. 118. If reason indeed is instrumental, then Horkheimer’s remark does not seem implausible. ” The reason why this remark nevertheless seems wayward is that Horkheimer seems to be referring to “reason as such” or “Enlightenment reason” (which, after all, is the subject of the chapter), and one would then want to know why Kant’s moral philosophy, for example, which is definitely oriented around a conception of reason, should be deemed incapable of producing a “fundamental argument” against murder.
In the second half of the chapter I explore Adorno’s account of how reason, especially in modernity, has been configured in such a way as to prevent the free responsiveness and autonomy that the German Idealist tradition had envisioned as its central ideal. I argue that, unlike standard readings, Adorno does not equate reason per se with instrumentality or “identitarian” reason. I also claim that Adorno’s aim is to demonstrate that reason is distorted, and that art attains the importance it has for him in large part because he views it as responding critically to this predicament.
Adorno's Modernism: Art, Experience, and Catastrophe by Espen Hammer