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  1. Art and Philosophy: Rivals or Partners?Negrin Llewellyn - 2005 - Philosophy and Social Criticism 31 (7):801-822.
    Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself.At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more spontaneous (...)
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  • The Artwork and the Promesse du Bonheur in Adorno.James Gordon Finlayson - 2015 - European Journal of Philosophy 23 (3):392-419.
    Adorno's saying that ‘art is the promise of happiness’ radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with (...)
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  • Art and Life in Avant-Garde Prague, 1920–1924*: Thomas Ort.Thomas Ort - 2010 - Modern Intellectual History 7 (1):63-92.
    This essay outlines the unique interpretation of the avant-garde formulated in the early 1920s by the Czech novelist, playwright, and cultural critic Karel Čapek. Whereas in Theory of the Avant-Garde Peter Bürger argued that the central problem of the avant-garde was its failure to effect a genuine reconciliation of art and life, Čapek, in contrast, worried about the prospect of success. Closely observing the practices of the Czech avant-garde group Devětsil, Čapek interpreted its attempt to fuse art and life in (...)
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  • T.W. Adorno : The Memory of Utopia.Colin Thomas - unknown
    This thesis has two principal aims: to demonstrate the centrality of memory to the philosophy and aesthetics of T. W. Adorno, and to assess its philosophical significance. Although in recent years Adorno's work has been the object of increased scrutiny within Anglo-American philosophical circles, as yet little sustained attention has been devoted to the concept of memory within Adorno's oeuvre. However, in Dialectic of Enlightenment Adorno and Horkheimer proclaimed that it is "by virtue of this memory of nature in the (...)
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