By David Cunningham, Nigel Mapp
Regardless of the new upsurge of curiosity in Theodor Adorno's paintings, his literary writings stay regularly missed. but literature is a relevant point in his aesthetic thought. construction at the present emergent curiosity in glossy philosophical aesthetics, this booklet deals a wide-ranging account of the literary elements of Adorno's pondering. Bringing jointly unique essays from a wonderful foreign crew of participants, it deals the reader a undemanding direction in the course of the significant parts of Adorno's paintings during this region. it really is divided into 3 sections, facing the idea that of literature, with poetry and poetics, and with modernity, drama and the unconventional respectively. while, the e-book presents a transparent feel of the original traits of Adorno's philosophy of literature via seriously referring to his paintings to a few different influential theorists and theories together with modern postmodernist notion and cultural experiences.
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Extra resources for Adorno And Literature
A more nuanced and dialectical version of that Cultural Theory and Literary Value 35 objection, which pays serious attention to Adorno (as Carey does not), is offered by Andreas Huyssen in After the Great Divide? Huyssen rejects the idea that 'the only possibility for contemporary art [now lies] in a further elaboration of the modernist project' (1988:43). Discussing the impact of the American series Holocaust when shown on German TV, he defends the aesthetic—political uses of the 'emotional identification' that the series encouraged, and which helped make it accessible to a mass audience, but which is ruled out by the 'artistic forms' favoured by 'the historical avantgarde' (108).
Its semblance character prevents this and means that it only reveals the repression internalized through the enlightenment, through the mediation of the enlightenment itself. This explains why Adorno is so critical of projects to reveal an originary language positively, or a synaesthetic overcoming of the alienated sensibility of enlightenment rationalization, or indeed a Gesamtkunstwerk that would overcome the alienation of the arts from one another. All these projects propose to recover the origin of culture immediately and thereby appeal to it in an inevitably mythic form.
Representation is hereby achieved through a kind of metonymic transubstantiation. This primitive mimesis is contrasted critically with the development of more purely codified systems of language in which there is only an arbitrary connection between the sign and what it represents (as for Saussure). However, Adorno and Horkheimer do not propose this primitive mimesis as simply the truth that has been lost by the development of reason and which needs to be recovered as it was. Rather, it makes explicit the entwinement of representation and domination that is subsequently suppressed by the generalization of domination into a necessary and universal principle of representation (DE: 6—7; 6*53:25—7).