University of Minnesota Press, 1998 Paper: 978-0-8166-1800-2 | Cloth: 978-0-8166-1799-9 Library of Congress Classification B3199.A33A813 1997 Dewey Decimal Classification 111.85
TOC
TABLE OF CONTENTS
Contents
Translator's Acknowledgments
Translator's Introduction
Art, Society, Aesthetics
Art's Self-Evidence Lost
Against the Question of Origin
Truth Content and the Life of Works
On the Relation of Art and Society
Critique of the Psychoanalytic Theory of Art
The Art Theories of Kant and Freud
“The Pleasure of Art”
Aesthetic Hedonism and the Happiness of Knowledge
Situation
Disintegration of the Material
Deaestheticization of Art, Critique of the Culture Industry
Language of Suffering
The New: Its Philosophy of History
On the Problem of Invariance; Experiment (I)
Defense of Isms
Isms as Secularized Schools
Feasibility and Accident; Modernity and Quality
“Second Reflection”
The New and Duration
Dialectic of Integration and the “Subjective Point”
The New, Utopia and Negativity
Modern Art and Industrial Production
Aesthetic Rationality and Criticism
Canon of Prohibitions
Experiment (II), Seriousness and Irresponsibility
Black as an Ideal
Relation to Tradition
Subjectivity and Collective
Solipsism, Mimetic Taboo, and Maturity
Métier
Expression and Construction
On the Categories of the Ugly, the Beautiful, and Technique
On the Category of the Ugly
Ugliness: Its Social Aspect and Its Philosophy of History
On the Concept of the Beautiful
Mimesis and Rationality
On the Concept of Construction
Technology
Dialectic of Functionalism
Natural Beauty
Condemnation of Natural Beauty
Natural Beauty as a “Stepping Out into the Open”
On Cultural Landscape
Natural Beauty and Art Beauty Are Interlocked
The Experience of Nature Is Historically Deformed
Aesthetic Apperception Is Analytical
Natural Beauty as Suspended History
Determinate Indeterminateness
Nature as a Cipher of the Reconciled
Hegel's Critique of Natural Beauty: Its Metacritique
Transition from Natural to Art Beauty
Art Beauty: Apparition, Spiritualization, Intuitability
“More” as Semblance
Aesthetic Transcendence and Disenchantment
Enlightenment and Shudder
Art and the Art-Alien
The Nonexistent
Image Character
“Explosion”
Image Content Is Collective
Art as Spiritual
Immanence of Works and the Heterogeneous
On Hegel's Aesthetics of Spirit
Dialectic of Spiritualization
Spiritualization and the Chaotic
Art's Intuitability Is Aporetic
Intuitability and Conceptuality
Semblance and Expression
Crisis of Semblance
Semblance, Meaning, and “tour de force”
Toward the Redemption of Semblance
Expression and Dissonance
Subject-Object
Expression as Eloquence
Domination and Conceptual Knowledge
Expression and Mimesis
Dialectic of Inwardness; Aporias of Expression
Enigmaticalness, Truth Content, Metaphysics
Critique and Redemption of Myth
The Mimetic and the Ridiculous
Cui bono
Enigmaticalness and Understanding
“Nothing shall be left unchanged”
Enigma, Script, Interpretation
Interpretation as Imitation
“Block”
Fractured Transcendence
On the Truth Content of Artworks
Art and Philosophy; Collective Content of Art
Truth as Semblance of the Illusionless
Mimesis of the Fatal and Reconciliation
Methexis in Darkness
Coherence and Meaning
Logicality
Logic, Causality, Time
Purposefulness without Purpose
Form
Form and Content
The Concept of Articulation (I)
On the Concept of Material
The Concept of Subject Matter; Intention and Content
Intention and Meaning
The Crisis of Meaning
The Concept of Harmony and the Ideology of Closure
Affirmation
Critique of Classicism
Subject-Object
Subjective and Objective are Equivocal; On Aesthetic Feeling
Critique of Kant's Concept of Objectivity
Precarious Balance
Linguistic Quality and Collective Subject
Subject-Object Dialectic
“Genius”
Originality
Fantasy and Reflection
Objectivity and Reification
Toward a Theory of the Artwork
Aesthetic Experience Is Processual
Transience
Artifact and Genesis
The Artwork as Monad and Immanent Analysis
Art and Artworks
History Is Constitutive; “Intelligibility”
The Necessity of Objectivation and Dissociation
Unity and Multiplicity
The Category of Intensity
“Why a work can rightfully be said to be beautiful”
“Depth”
The Concept of Articulation (II)
On the Differentiation of Progress
Development of Productive Forces
The Transformation of Artworks
Interpretation, Commentary, Critique
Truth Content Is Historical; The Sublime in Nature and Art
The Sublime and Play
Universal and Particular
Nominalism and the Decline of Genres
On Antiquity's Genre-Aesthetics
Philosophy of History of Conventions
On the Concept of Style
The Progress of Art
The History of Art Is Inhomogeneous
Progress and Domination of the Material
“Technique”
Art in the Industrial Age
Nominalism and Open Form
Construction, Static and Dynamic
Society
Double Character of Art; fait social and Autonomy; On the Fetish Character
Reception and Production
Choice of Thematic Material; Artistic Subject; Relation to Science
Art as Comportment
Ideology and Truth
“Guilt”
On the Reception of Advanced Art
Mediation of Art and Society
Critique of Catharsis; Kitsch and the Vulgar
Attitude to Praxis; Effect, Lived Experience, “Shudder”
Commitment
Aestheticism, Naturalism, Beckett
Against Administered Art
The Possibility of Art Today
Autonomy and Heteronomy
Political Option
Progress and Reaction
Art and the Poverty of Philosophy
Primacy of the Object and Art
The Problem of Solipsism and False Reconciliation
Paralipomena
Theories on the Origin of Art
Draft Introduction
The Obsolescence of Traditional Aesthetics
The Changing Function of Naïveté
Irreconcilability of Traditional Aesthetics and Contemporary Art
Truth-Content and the Fetish Character of Artworks
The Need for Aesthetics
Aesthetics as the Refuge of Metaphysics
Aesthetic Experience as Objective Understanding
Work-Immanent Analysis and Aesthetic Theory
On the Dialectics of Aesthetic Experience
Universal and Particular
Critique of the Phenomenological Research of Origin
Relation to Hegel's Aesthetics
The Open Character of Aesthetics; Aesthetics of Form and Aesthetics of Content (I)
Aesthetics of Form and Aesthetics of Content (II); Norms and Slogans