Philosophy Lexicon 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.

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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.

 
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Art
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).
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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)
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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.
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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.
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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.
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I 188
Art/Adorno: art is a practice as "formation of consciousness" (Ästhetische Theorie, p. 361).


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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.

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 2017-11-24