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Art and Enlightenment: Aesthetic Theory after Adorno

Journal of Aesthetics and Art Criticism 50 (3):262-263 (1992)

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Adorno's Wagner.Gyorgy Markus - 1999 - Thesis Eleven 56 (1):25-55.details Adorno's first musical monograph, his book on Wagner, represents his most consistent effort to apply commodity analysis to one of the seminal oeuvres of cultural modernity. The notion of commodity character and the associated concept of phantasmagoria are to fulfil the function of mediation between the more narrowly conceived technical analysis of Wagner's music and the disclosure of its aesthetic-social substance, providing the ultimate social ground for their unity. This project, however, fails. Commodity analysis proves to be radically vague, incapable (...) Download Export citation Bookmark 2 citations
Adorno and Mass Culture: Autonomous Art Against the Culture Industry.György Markus - 2006 - Thesis Eleven 86 (1):67-89.details Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness. Download Export citation Bookmark 2 citations
Countervisions of Modernity: David Roberts, The Total Work of Art in European Modernism. [REVIEW]Francis Plagne - 2016 - Critical Horizons 17 (3-4):390-404.details David Roberts's The Total Work of Art in European Modernism extends and deepens the analysis of the counter-paradigm of redemptively inspired art to modernism's own pre-occupation with secularization. It addresses the imbalance in social and critical theory whereby progressive secular rationalization has been elevated to the sole logic of modernity, and the romantic redemptive tradition has been reduced to a marginal counter-enlightenment. The total work of art paradigm allows Roberts to demonstrate how the programme of modernity has been constituted by (...) Download Export citation Bookmark 1 citation
From modernism to presentism: On the destination of art.David Roberts - 2024 - Thesis Eleven 180 (1):3-14.details The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its (...) Download Export citation Bookmark
Between Art and Gameness: Critical Theory and Computer Game Aesthetics.Graeme Kirkpatrick - 2007 - Thesis Eleven 89 (1):74-93.details This article argues that the computer game can be a locus of aesthetic form in contemporary culture. The context for understanding this claim is the decline of the artwork as bearer of form in the late 20th century, as this was understood by Adorno. Form is the enigmatic other of instrumental reason that emerges spontaneously in creative works and, in the modern era, is defined as that which makes them captivating and enigmatic yet resistant to analytic understanding. Clarification of the (...) Download Export citation Bookmark 2 citations

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