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The Fate of Art: Aesthetic Alienation From Kant to Derrida and Adorno

Pennsylvania State University Press (1992)

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  1. Inheritance, Originality and the Will: Bergson and Heidegger on Creation.Mark Sinclair - 2014 - International Journal of Philosophical Studies 22 (5):655-675.
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  • Philosophy, Drama and Literature.Rick Benitez - 2010 - In Graham Oppy & Steve Gardner (eds.), A Companion to Philosophy in Australia & New Zealand. Melbourne, Australia: Monash University Press. pp. 371-372.
    Philosophy and Literature is an internationally renowned refereed journal founded by Denis Dutton at the University of Canterbury, Christchurch. It is now published by the Johns Hopkins University Press. Since its inception in 1976, Philosophy and Literature has been concerned with the relation between literary and philosophical studies, publishing articles on the philosophical interpretation of literature as well as the literary treatment of philosophy. Philosophy and Literature has sometimes been regarded as iconoclastic, in the sense that it repudiates academic pretensions, (...)
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  • Adorno's Tragic Vision.Markku Nivalainen - 2018 - Dissertation, University of Jyväskylä
    This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...)
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  • Difference, Boundaries and Violence : A Philosophical Exploration Informed by Critical Complexity Theory and Deconstruction.Lauren Hermanus - unknown
    ENGLISH ABSTRACT: This thesis is a philosophical exposition of violence informed by two theoretical positions which confront complexity as a phenomenon. These positions are complexity theory and deconstruction. Both develop systemsbased understandings of complex phenomena in which relations of difference are constitutive of the meaning of those phenomena. There has been no focused investigation of the implications of complexity for the conceptualisation of violence thus far. In response to this theoretical gap, this thesis begins by distinguishing complexity theory as a (...)
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  • Art, Politics and Knowledge: Feminism, Modernity, and the Separation of Spheres.Amy Mullin - 1996 - Metaphilosophy 27 (1-2):118-145.
  • Nietzsche and the “Self‐Mockery of Reason”.Samir Gandesha - 1998 - The European Legacy 3 (4):96-108.
  • The Exemplarities of Artworks: Heidegger, Shoes , and Pixar. [REVIEW]Julie Kuhlken - 2007 - Continental Philosophy Review 40 (1):17-30.
    Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...)
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  • Towards a Feminist Aesthetics of Melancholia: Kristeva, Adorno, and Modern Women Writers.Ewa Ziarek - 2010 - Critical Horizons 11 (3):443 - 461.
    Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but ‘properly” belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art’s origin in the unjust and gendered division of labor and power but also to the ethical and political task of (...)
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  • Understanding the Value of Arts and Culture.Patrycja Kaszynska & Geoffrey Crossick - 2016 - Ahrc.
    Why do the arts and culture matter? What difference do they make and how do we know what difference they make? This report presents the outcomes of the AHRC’s Cultural Value Project which looked at how we think about the value of the arts and culture to individuals and to society.
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  • Early Modern Aesthetics: Antony and Cleopatra and the Afterlife of Domination.Nigel Mapp - 2020 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 13 (2):169-184.
    This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion (...)
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  • Die Übereinstimmung zwischen Einbildungskraft und Verstand und die „Erkenntnis überhaupt“.Oscar Meo - 2015 - Con-Textos Kantianos 2:86-99.
    Im ersten Teil des Aufsatzes diskutiere ich die Bedeutung des Syntagmas „Erkenntnis überhaupt“, das Kant im § 9 der KU einführt, um sowohl das Problem der allgemeinen Mitteilbarkeit des dem Geschmacksurteil zugrundeliegenden „Gemütszustandes“, als auch das Problem der Natur der ästhetischen Übereinstimmung zwischen Verstand und Einbildungskraft aufzulösen: Während der ästhetischen Erfahrung ist es zwar notwendig, dass sie sich miteinander verbinden, als ob sie auf die Gegenstandserkenntnis ausgerichtet wären, aber ihre Beziehung besteht in einem freien Spiel auf dem vortheoretischen Niveau der (...)
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  • Identidade Idealista E Mimesis Dialética Na Estética Negativa de Adorno.Antonio Gutiérrez Pozo - 2013 - Filosofia Unisinos 14 (1).
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  • Sounding : Disintegrating Visual Space in Music.David Guimond - unknown
    While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...)
     
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  • Immanuel Kant and the Theory of Radical Democracy.Nathanael William Vaprin - unknown
    This dissertation is intended as an intervention in the interminable and apparently antinomical philosophical exchange between political theories of radical democracy descended from Ernesto Laclau and Chantal Mouffe and liberal democracy descended from John Rawls. Radical democrats have deployed the friend-enemy distinction of Carl Schmitt to criticize liberal democracy as hypocritical and ultimately undemocratic in its refusal to critique its own ground; liberal democrats have riposted by characterizing radical democracy as dangerously anarchic. In this project, I read Immanuel Kant in (...)
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  • Historical Undecidability: The Kantian Background to Derrida’s Politics.Alison Ross - 2004 - International Journal of Philosophical Studies 12 (4):375 – 393.
    This paper deals with Derrida's analysis of Kant's Critique of Judgment in his essay 'Economimesis'. I argue that Derrida's analysis of Kant's aesthetics can be used to describe the aporia within Kantian politics between rebellion and progressive revolutionary acts. The focus of my argument falls on examining how the recent debate over Derrida's ethics can be usefully considered from the background of this treatment of Kant. In particular, the analysis Derrida gives of Kant's aesthetics commits him to a series of (...)
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  • After Adorno: Art, Autonomy, and Critique.John Roberts - 2000 - Historical Materialism 7 (1):221-239.
  • Derrida and the Holocaust: A Commentary on the Philosophy of Cinders.Robert Eaglestone - 2002 - Angelaki 7 (2):27 – 38.