Benjamin and Adorno on art and art criticism : critique of art
著者
書誌事項
Benjamin and Adorno on art and art criticism : critique of art
Amsterdam University Press, c2017
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注記
Includes bibliographical references (p. [351]-362) and index
内容説明・目次
内容説明
This book brings together two of the most important figures of twentieth-century criticism, Walter Benjamin and Theodor Adorno, to consider a topic that was central to their thinking: the place of and reason for art in society and culture. Thijs Lijster takes us through points of agreement and disagreement between the two on such key topics as the relationship between art and historical experience, between avant-garde art and mass culture, and between the intellectual and the public. He also addresses the continuing relevance of Benjamin and Adorno to ongoing debates in contemporary aesthetics, such as the end of art, the historical meaning of art, and the role of the critic.
目次
Introduction: Critique of Art 1. Autonomy and Critique 1.1 Introduction 1.2 The birth of autonomy 1.3 The artist in the marketplace 1.4 Art versus society 1.5 Conclusion 2. Ends of Art 2.1 Introduction 2.2 Annihilation of semblance: Baroque allegory 2.3 Allegory and commodity 2.4 Proliferation of the aesthetic: technological reproducibility 2.5 Adorno's dialectic of semblance 2.6 Culture industry: the social liquidation of art 2.7 Modernism: self-critique of semblance 2.8 Conclusion Excursus I - The (N)everending Story Hegel and the beginning of the end Danto's post-historical pluralism Vattimo's weak reality Conclusion 3. Experience, History, and Art 3.1 Introduction 3.2 Benjamin's concept of experience 3.3 Experience and history 3.4 Art history and monadology 3.5 Adorno: experience and mimesis 3.6 Natural history 3.7 The tendency of the material and the crystallization of the monad 3.8 Conclusion Excursus II - Base and Superstructure Reconsidered Struggling with a metaphor A farewell to Marx A parallax view on historical materialism Conclusion 4. The Art of Critique 4.1 Introduction 4.2 Benjamin's reading of the early German Romantics 4.3 Revolutionary criticism 4.4 An exemplary piece of criticism: Benjamin's Goethe essay 4.5 Adorno's immanent criticism 4.6 The necessity and impossibility of criticism 4.7 Adorno's Mahler 4.8 Conclusion Excursus III - Where is the Critic? Rise and fall of the critic Why criticism? The critic as intellectual Conclusion Conclusion A distance, however close The 'actuality' of Benjamin and Adorno Critical models Post-Fordism and the new spirit of capitalism Becoming life versus resistance Appendix - Notes on a Camp
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