Philosophy Dictionary of Arguments
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| Art: according to the traditional conception, art is a social sphere that is not directly focused on the maintenance of life functions. For this reason it opens up a certain freedom and possibility of knowledge. In the modern age, the idea of the evading of art has evolved in the face of a widespread through-organization of more and more areas of life. This development can lead to an ever-barred understanding ("hermetics"). See also aesthetics, works of art, critique, society, history, enlightenment, recognition._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
| Author | Item | Summary | Meta data |
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| Grenz I 49 Art/Adorno: "Art is infinitely difficult, too, in the fact that it must transcend its concept [...] but that it adapts itself to the reification in which it is similar to realities, against which it protests ... (Ästhetische Theorie, p. 159). Art/Sense/Adorno: The abandonment of art to the category of meaning drives it into the arms of positivism (it is still a synonym for assimilated consciousness). (Ästhetische Theorie, p. 231). --- Grenz I 104 Art/HabermasVsAdorno: Adorno's theory of the autonomy of art, which he sees represented in hermetic art, is a 'defensive' theory. (Habermas, making aware or rescuing criticism. The topicality of Walter Benjamin (1972)). In: Jürgen Habermas: Politik, Kunst und Religion. Essays über zeitgenössische Philosophen. Reclam, Stuttgart 1978 (aktuelle Neuauflage 2006) ISBN 3-15-009902-1, S. 48–95) --- Grenz I 108 Abstract/art/Adorno/Grenz: the abstractness of the reference of the works of art to the psychological nominalism, existing before them, on which Adorno insists, are the consequences of the theorem of the ahistorical-ness of the ideological superstructure. --- Grenz I 186 Art/Adorno/Grenz: Adorno separates between the social content of the works of art and their monolithically-viewd suchness. AdornoVs aesthetics effects: Adorno adheres to the objectification character of the works of art. --- I 187 Either a work of art is communicative, but then it is at the same time, 'crude propaganda', or it is true as a critique of the communication system. But then it is socially ineffective. --- I 188 Art/Adorno: art is a practice as "formation of consciousness" (Ästhetische Theorie, p. 361)._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
A I Th. W. Adorno Max Horkheimer Dialektik der Aufklärung Frankfurt 1978 A II Theodor W. Adorno Negative Dialektik Frankfurt/M. 2000 A III Theodor W. Adorno Ästhetische Theorie Frankfurt/M. 1973 A IV Theodor W. Adorno Minima Moralia Frankfurt/M. 2003 A V Theodor W. Adorno Philosophie der neuen Musik Frankfurt/M. 1995 A VI Theodor W. Adorno Gesammelte Schriften, Band 5: Zur Metakritik der Erkenntnistheorie. Drei Studien zu Hegel Frankfurt/M. 1071 A VII Theodor W. Adorno Noten zur Literatur (I - IV) Frankfurt/M. 2002 A VIII Theodor W. Adorno Gesammelte Schriften in 20 Bänden: Band 2: Kierkegaard. Konstruktion des Ästhetischen Frankfurt/M. 2003 A IX Theodor W. Adorno Gesammelte Schriften in 20 Bänden: Band 8: Soziologische Schriften I Frankfurt/M. 2003 A XI Theodor W. Adorno Über Walter Benjamin Frankfurt/M. 1990 A XII Theodor W. Adorno Philosophische Terminologie Bd. 1 Frankfurt/M. 1973 A XIII Theodor W. Adorno Philosophische Terminologie Bd. 2 Frankfurt/M. 1974 A X Friedemann Grenz Adornos Philosophie in Grundbegriffen. Auflösung einiger Deutungsprobleme Frankfurt/M. 1984 |
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Ed. Martin Schulz, access date 2019-06-19