By Theodor W. Adorno
In his "Philosophy of recent Music", Theodor W. Adorno analyzes what he referred to as "radical music" and discusses intimately the leading edge paintings of Mahler, of Schoenberg and his disciples, and the early compositions of Stravinsky. As in all his writings, Adorno brings a wide range of cultural and social issues to endure on those topics, in order that person musical works are obvious of their broadest political and sociological atmosphere. while, the publication continues to be a examine of the works themselves, and as such is a vintage research of great twentieth century song. released for the 1st time in Germany in 1948, "Philosophy of recent Music" is a made of Adorno's exile within the usa, the place he wrote it whereas nationwide Socialism fell in his ecu fatherland.
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Extra info for Aesthetic Theory (Athlone Contemporary European Thinkers)
Aesthetic disinterestedness has broadened interest beyond particularity. The interest in the aesthetic 12 D ART, SOCIETY, AESTHETICS totality wanted to be, objectively, an interest in a correct organization of the whole. It aims not at the fulfillment of the particular but rather at unbound possibility, though that would be no possibility at all without the presupposition of the fulfillment of the particular. Correlative to the weakness of Kant's aesthetics, Freud's is much more idealistic than it suspects.
For a society in which art no longer has a place and which is pathological in all its reactions to it, art fragments on one hand into a reified, hardened cultural possession and on the other into a source of pleasure that the customer pockets and that for the most part has little to do with the object itself. Subjective pleasure in the artwork would approximate a state of release from the empirical as from the totality of heteronomous. Schopenhauer may have been the first to realize this. The happiness gained from artworks is that of having suddenly escaped, not a morsel of that from which art escaped; it is accidental and less essential to art than the happiness in its knowledge; the concept of aesthetic pleasure as constitutive of art is to be superseded.
The dynamic character of the artistic is much more ART, SOCIETY, AESTHETICS 11 fully grasped by Freud's theory of sublimation. But for this Freud clearly had to pay no smaller a price than did Kant. If in the latter's case, in spite of his preference for sensual intuition, the spiritual essence of the artwork originates in the distinction between aesthetic and practical, appetitive behavior, Freud's adaptation of the aesthetic to the theory of the instincts seems to seal itself off from art's spiritual essence; for Freud, artworks are indeed, even though sublimated, little more than plenipotentiaries of sensual impulses, which they at best make unrecognizable through a sort of dreamwork.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno