By Theodor W. Adorno
In his "Philosophy of recent Music", Theodor W. Adorno analyzes what he known 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 wide range of cultural and social issues to endure on those matters, in order that person musical works are noticeable of their broadest political and sociological surroundings. even as, the ebook continues to be a research of the works themselves, and as such is a vintage learn of significant twentieth century song. released for the 1st time in Germany in 1948, "Philosophy of contemporary 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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Additional resources for Aesthetic Theory (Athlone Contemporary European Thinkers)
While the artwork's sensual appeal seemingly brings it close to the consumer, it is alienated from him by being a commodity that he possesses and the loss of which he must constantly fear. The false relation to art is akin to anxiety over possession. The fetishistic idea of the artwork as property that can be possessed and destroyed by reflection has its exact correlative in the idea of exploitable property within the psychological economy of the self. If according to its own concept art has become what it is, this is no less the case with its classification as a source of pleasure; indeed, as components of ritual praxis the magical and animistic predecessors of art were not autonomous; yet precisely because they were sacred they were not objects of enjoyment.
Art is modern art through mimesis of the hardened and alienated; only thereby, and not by the refusal of a mute reality, does art become eloquent; this is why art no longer tolerates the innocuous. Baudelaire neither railed against nor portrayed reification; he protested against it in the experience of its archetypes, and the medium of this experience is the poetic form. This raises him supremely above late romantic sentimentality. The power of his work is that it syncopates the overwhelming objectivity of the commodity character—which wipes out any human trace—with the objectivity of the work in itself, anterior to the living subject: The absolute artwork converges with the absolute commodity.
Only in the new does mimesis unite with rationality without regression: Ratio itself becomes mimetic in the shudder of the new and it does so with incomparable power in Edgar Allan Poe, truly a beacon for Baudelaire and all modernity. " Like every historicophilosophical category, tradition is not to be understood as if, in an eternal relay race, the art of one generation, one style, one maestro, were passed on to the succeeding one. Sociologically and economically, since Max Weber and Sombart, the distinction is made between traditional and nontraditional periods; tradition itself, as a medium of historical movement, depends essentially on economic and social structures and is qualitatively transformed along with them.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno