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Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.
This volume contains a selection of essays presented at the international conference on Cultural Crises in Art and Literature, held in Groningen in November 2002, in a special session on the question of the autonomy of the arts. Do we witness, in western culture, the end of the autonomy of the arts as it has been conceptualized and institutionalized since the eighteenth century? Indeed, developments of quite a different nature seem to have contributed to a blurring of boundaries between art and non-art, art and the market, art and politics or ethics, as well as between the arts themselves, and between 'high' and 'low' art. Although this volume does not pretend to map this complex process in its entirety - partly because it is impossible to step out of one's own history - it is meant as a contribution to the elucidation of the process itself, offering some challenging explanations as to the heat of the current debate.
What does it mean to speak of artistic autonomy at a time when art is fully commercialised and aesthetics has become the guiding principle of economic production and policymaking? This book by Sebastian Olma takes a fresh look at this question by summoning three heroes of the aesthetic revolution to confront the challenges faced by artistic practice today. Turning Kant into a campaigner for the Anthropocene, Schiller into a creative entrepreneur, and Schelling into a political activist, Olma lays the groundwork for a critique that identifies "the contemporary" itself as contemporary art's greatest challenge in the struggle to reinvent its autonomy and regain its relevance to society.
A Return to Aesthetics confronts postmodernism's rejection of aesthetics by showing that this critique rests on central concepts of classical aesthetic theory, namely autonomous form, disinterest, and symbolic discourse. The author argues for the value of these concepts by recovering them through a historical reinterpretation of their meaning prior to their distortion by twentieth-century formalism. Loesberg then applies these concepts to a discussion of two of the most significant critics of the ideology of Enlightenment, Foucault and Bourdieu. He argues that understanding the role of aesthetics in the postmodern critique of Enlightenment will get us out of the intellectual impasse wherein numbingly repeated attacks upon postmodernism as self-contradictory match numbingly repeated defenses. Construing postmodern critiques as examples of aesthetic reseeing gives us a new understanding of the postmodern critique of the Enlightenment.
The book is a study of Adorno's aesthetics, its philosophical background, and its account of aesthetic modernism.
First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.
Martin Herberts timely new collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. Today, a large part of the artists role in our massively professionalized art world is being present. Herbert provides a counterargument for this proactive concept of self-marketing, examining the consequential nature of retreat, whether in protest, as a deliberate conceptual act or out of necessity. By illuminating the motives of artists including Stanley Brouwn, Charlotte Posenenske, David Hammons, Lutz Bacher and Agnes Martin among others, this book offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) by Sternberg Press and Mark Wallinger (2011).
A history of Kantian and post-Kantian thought and of a foundational stage of German orientalism. German orientalism has been understood, variously, as a form of latent colonialism, as a quest for academic hegemony in Europe, and as an effort to diagnose and treat the ills of modern Western culture. Nicholas Germana identifiesa different impetus for orientalism in German thought, seeing it as an effort to come to grips with the Other within German society at the turn of the nineteenth century and within the dynamics of subjectivity itself. Drawing largely on work by feminist scholars, the book uncovers an anxiety at the core of Kantian and post-Kantian thought, thus shedding light on its derogation (or elevation) of Oriental cultures. Kant's philosophy of freedom is a construction of modern, Western masculinity. Reason, which alone can make freedom possible, subverts and orders chaotic nature and protects the rational subject from the enervating influences of the senses and the imagination. The feminized, sexually charged Orient is a threat to the historical achievement of Western male rationality. Germana's book emphasizes aesthetics in the German orientalist discourse, a subject that has received little attention todate. In this tradition of German thought, aesthetics became a form of spiritual anthropology, ordering and classifying societies, races, and genders in terms of their ability to master the senses and the imagination, forces thatundermine rational autonomy, the very source of human (i.e., masculine) dignity. Nicholas A. Germana is Professor of History at Keene State College, New Hampshire.
Fictions of Autonomy presents a revisionary account of aesthetic autonomy and transnational modernism with a range of readings that includes works by Wilde, Eliot, Joyce, Barnes, and Stevens alongside writings by theorists like Adorno and de Man.
Two ways of understanding the aesthetic organization of literary works have come down to us from the late 18th century and dominate discussions of European modernism today: the aesthetics of autonomy, associated with the self-sufficient work of art, and the aesthetics of fragmentation, practiced by the avant-gardes. In this revisionary study, Leonardo Lisi argues that these models rest on assumptions about the nature of truth and existence that cannot be treated as exhaustive of modern experience. Lisi traces an alternative aesthetics of dependency that provides a different formal structure, philosophical foundation, and historical condition for modernist texts. Taking Europe's Scandinavian periphery as his point of departure, Lisi examines how Kierkegaard and Ibsen imagined a response to the changing conditions of modernity different from those at the European core, one that subsequently influenced James, Hofmannsthal, Rilke, and Joyce. Combining close readings with a broader revision of the nature and genealogy of modernism, Marginal Modernity challenges what we understand by modernist aesthetics, their origins, and their implications for how we conceive our relation to the modern world.