By Theodor W. Adorno
In his "Philosophy of contemporary Music", Theodor W. Adorno analyzes what he referred to as "radical music" and discusses intimately the cutting edge paintings of Mahler, of Schoenberg and his disciples, and the early compositions of Stravinsky. As in all his writings, Adorno brings a big selection of cultural and social issues to endure on those topics, in order that person musical works are visible of their broadest political and sociological surroundings. while, the e-book continues to be a examine of the works themselves, and as such is a vintage learn of significant twentieth century track. released for the 1st time in Germany in 1948, "Philosophy of recent Music" is a fabricated from 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)
Likewise tragedy, which may have been the origin of the idea of aesthetic autonomy, was an afterimage of cultic acts that were intended to have ART, SOCIETY, AESTHETICS 7 real effects. The history of art as that of its progressive autonomy never succeeded in extirpating this element, and not just because the bonds were too strong. At the height of its form, in the nineteenth century, the realistic novel had something of what the theory of so-called socialist realism rationally plotted for its debasement: reportage, the anticipation of what social science would later ascertain.
But this theory is more productive psychologically than aesthetically. For psychoanalysis considers artworks to be essentially unconscious projections of those who have produced them, and, preoccupied with the hermeneutics of thematic material, it forgets the categories of form and, so to speak, transfers the pedantry of sensitive doctors to the most inappropriate objects, such as Leonardo da Vinci or Baudelaire. The narrow-mindedness, in spite of all the emphasis on sex, is revealed by the fact that as a result of these studies, which are often offshoots of the biographical fad, artists whose work gave uncensored shape to the negativity of life are dimissed as neurotics.
Even the contemplative attitude to artworks, wrested from objects of action, is felt as the announcement of an immediate praxis and—to this extent itself practical—as a refusal to play along. Only artworks that are to be sensed as a form of comportment have a raison d'etre. Art is not only the plenipotentiary of a better praxis than that which has to date predominated, but is equally the critique of praxis as the rule of brutal self-preservation at the heart of the status quo and in its service.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno