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Aesthetic theory

Author: Theodor W Adorno; Gretel Adorno; Rolf Tiedeman
Publisher: Minneapolis, MN. : University of Minnesota Press, [1997] ©1997
Series: Theory and history of literature, v. 88.
Edition/Format:   Print book : State or province government publication : EnglishView all editions and formats
Summary:
The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Adorno's major work, a defense of modernism that is paradoxical in its defense of illusion. In it, Adorno takes up the problem of art in a day when "it goes without saying that nothing concerning art goes without saying." In the course of his discussion, Adorno revisits such concepts as the sublime, the ugly, and the beautiful,  Read more...
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Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Theodor W Adorno; Gretel Adorno; Rolf Tiedeman
ISBN: 0816617996 9780816617999 9780816618002 0816618003
OCLC Number: 34475713
Description: xxi, 383 pages ; 24 cm.
Contents: Art, Society, Aesthetics --
Situation --
On the Categories of the Ugly, the Beautiful, and Technique --
Natural Beauty --
Art Beauty; Apparition, Spiritualization, Intuitability --
Semblance and Expression --
Enigmaticalness, Truth Content, Metaphysics --
Coherence and Meaning --
Subject-Object --
Toward a Theory of the Artwork --
Universal and Particular --
Society --
Paralipomena --
Theories on the Origin of Art --
Draft Introduction.
Series Title: Theory and history of literature, v. 88.
Other Titles: Ästhetische Theorie.
Responsibility: Theodor W. Adorno ; Gretel Adorno and Rolf Tiedemann, editors ; newly translated, edited, and with a translator's introduction by Robert Hullot-Kentor.

Abstract:

The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Adorno's major work, a defense of modernism that is paradoxical in its defense of illusion. In it, Adorno takes up the problem of art in a day when "it goes without saying that nothing concerning art goes without saying." In the course of his discussion, Adorno revisits such concepts as the sublime, the ugly, and the beautiful, demonstrating that concepts such as these are reservoirs of human experience. These experiences ultimately underlie aesthetics, for in Adorno's formulation "art is the sedimented history of human misery."

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