By Geoff Boucher
Brushed off as a depressing elitist who condemned pop culture within the identify of ‘high art’, Theodor W. Adorno (1903-1969) is without doubt one of the so much provocative and demanding but least understood of up to date thinkers. This ebook attracts on new translations into English to problem this renowned picture and re-examines Adorno as a utopian thinker who believed actual paintings may store the world.
Adorno Reframed is not just a accomplished advent to the reader coming to Adorno for the 1st time via precise dialogue of artistic endeavors, novels, motion pictures and song, yet a massive re-examination of this founding father of the Frankfurt university. stimulated by means of Kant, Hegel, Freud, Marx, Nietzche and Kierkegaard, Adorno used to be a searing critic of the formal, reductive rationality of the Enlightenment and of modernity. Unafraid to discuss human nature, undaunted through dogmas relating to cultural development, Adorno enjoyed paintings that hurts, that challenged the existing tradition of the day and resisted the controlled, commodified pseudo-happiness of ‘administered society’. protecting the independence of the wildlife and the particularity of the human person, for Adorno actual genuine artwork used to be a defiant refusal to subordinate the materiality of the area and the lived truth of human job to the imperatives of social totality.
Making his concept available via a wealth of concrete illustrations, many drawn from Adorno himself, Geoffrey Boucher recasts Adorno as a innovative whose anthropological imaginative and prescient of the human situation, experience of subversive irony and profoundly historic aesthetics defended the integrity of the person opposed to the commodified tradition industries that provide unsatisfying purchaser ‘happiness’. Grounding Adorno’s social philosophy and aesthetic concept in contextualised research of artists starting from Stockhausen and Kafka to David Lynch and Brett Easton-Ellis, Adorno Reframed takes its topic from interwar modernity into the postmodern and feminist current to ascertain the legacy and impact of Adorno’s radical modernism and his trust that paintings was once within the bottom line the way to focus on, now not break out, fact.
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Additional info for Adorno Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed)
40 Adorno Reframed in the juxtaposition of unrelated elements in the technique of collage. ) Collage, Bloch proposes, is ‘an account of the chaos of reality as actually experienced, with all its caesuras and dismantled structures of the past’ (Bloch, 2007: 24). Indeed, Lukács comments. Quite right. ‘Bloch’s mistake lies merely in the fact that he identifies this state of mind directly and unreservedly with reality itself’ (Lukács, 2007: 34). It is crucial to keep in view that the stake in this debate is not solely whether modernism is good art, according to exclusively formal aesthetic criteria.
Adorno’s work is rigorous philosophy that is persistently aware of how the stylistics of presentation affect whether something is merely consumed, or whether the resistance of the sentences to too-easy comprehension promotes thoughtful reflection. • Chapter one introduces Adorno’s social and cultural theory through an examination of his contribution to the Frankfurt School. It locates the core ideas of Frankfurt School Marxism against their intellectual background and contextualises them with reference to parallel developments in the arts, especially around Expressionism.
Not surprisingly, then, Adorno turns to Freud to understand how this works, and this is the third major difference with Lukács. For Lukács, Freudian psychoanalysis is part of a bourgeois tendency to irrationalist philosophy. He believes that Freud expresses a pessimistic anthropology that is really an ideological naturalisation of capitalist individualism (Lukács, 1980: 230). There are two important points to consider here. The ego seeks to bring the influence of the external world to bear upon the id and its tendencies, and endeavours to substitute the reality principle for the pleasure principle, which reigns unrestrictedly in the id.
Adorno Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed) by Geoff Boucher