{"product_id":"aesthetics-hardback-9780745679396","title":"Aesthetics (Hardback) 9780745679396","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eAesthetics\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eTheodor W. Adorno (Author), Eberhard Ortland (Edited by), Wieland Hoban (Translated by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780745679396, Polity Press\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 3 November 2017\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e376 pages\u003cbr\u003e23.1 x 15.5 x 3.3 cm, 0.658 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003ci\u003e\"The Nordic Civil Sphere\u003c\/i\u003e deserves to be widely read, not only by students and by scholars who are interested in the particularities of the Nordic civil spheres, but by anyone interested in how the civil spheres of the Global North shape democracy, welfare, values, and processes of inclusion and exclusion.\"\u003cbr\u003e\u003cb\u003eActa Sociology\u003c\/b\u003e\u003c\/p\u003e\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eThis volume of lectures on aesthetics, given by Adorno in the winter semester of 1958–9, formed the foundation for his later \u003ci\u003eAesthetic Theory\u003c\/i\u003e, widely regarded as one of his greatest works. \u003c\/p\u003e \u003cp\u003eThe lectures cover a wide range of topics, from an intense analysis of the work of Georg Lukács to a sustained reflection on the theory of aesthetic experience, from an examination of works by Plato, Kant, Hegel, Schopenhauer, Kierkegaard and Benjamin, to a discussion of the latest experiments of John Cage, attesting to the virtuosity and breadth of Adorno's engagement.  All the while, Adorno remains deeply connected to his surrounding context, offering us a window onto the artistic, intellectual and political confrontations that shaped life in post-war Germany. \u003c\/p\u003e \u003cp\u003eThis volume will appeal to a broad range of students and scholars in the humanities and social sciences, as well as anyone interested in the development of critical theory.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eEditor's Foreword\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 1\u003c\/b\u003e\u003cbr\u003eThe situation\u003cbr\u003eThe possibility of philosophical aesthetics today\u003cbr\u003eThe connection between philosophy and aesthetics in Kant\u003cbr\u003eHegel's definition of beauty\u003cbr\u003eAesthetic objectivity\u003cbr\u003eA critique of 'aesthetics from above'\u003cbr\u003eOn the method\u003cbr\u003eThe problem of aesthetic relativity\u003cbr\u003eThe objectivity of aesthetic judgement\u003cbr\u003eAesthetic logic\u003cbr\u003eThe irrationality of art\u003cbr\u003eThe work of art as an expression of naïveté\u003cbr\u003eBasic research in the field of aesthetics\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 2\u003c\/b\u003e\u003cbr\u003eNot a set of instructions\u003cbr\u003eThe individualist prejudice\u003cbr\u003eTalent\u003cbr\u003eResistance to aesthetics\u003cbr\u003eThe poles of aesthetic insight: (a) Theoretical reflection; (b) The experience of artistic practice\u003cbr\u003eAgainst cultivatedness\u003cbr\u003eThe riddle character\u003cbr\u003eA justification of the philosophy of art\u003cbr\u003e'Aesthetics' is equivocal\u003cbr\u003eNatural beauty and artistic beauty\u003cbr\u003eHegel's turn away from natural beauty\u003cbr\u003eUnresolved aspect to natural beauty\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 3\u003c\/b\u003e\u003cbr\u003eThe elusiveness of natural beauty\u003cbr\u003eThe model character of natural beauty\u003cbr\u003eAura\u003cbr\u003eThe experiences of something objective\u003cbr\u003e'Mood'\u003cbr\u003eThe mediation of natural beauty and artistic beauty\u003cbr\u003eThe historicity of natural beauty\u003cbr\u003eThe sublime in Kant\u003cbr\u003eAesthetic experience is dialectical in itself \u003cbr\u003e'Disinterested pleasure'\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 4\u003c\/b\u003e\u003cbr\u003eSpecial sphere of aesthetic semblance\u003cbr\u003eThe taboo on desire\u003cbr\u003eSublimation\u003cbr\u003eDissonance\u003cbr\u003e'Spring's command, sweet need'\u003cbr\u003eMimesis\u003cbr\u003eImitation\u003cbr\u003eTransition\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 5\u003c\/b\u003e\u003cbr\u003eThe separation of art from the real world\u003cbr\u003ePlay and semblance\u003cbr\u003e'The world once again'\u003cbr\u003eArt as 'unfolding of truth'\u003cbr\u003eThe negation of the reality principle\u003cbr\u003eExpression of suffering\u003cbr\u003eThe participation of art in the process of controlling nature\u003cbr\u003eTechnique\u003cbr\u003eProgress\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 6\u003c\/b\u003e\u003cbr\u003eDoes art merely express what has been destroyed?\u003cbr\u003eRestoring the body\u003cbr\u003eStart from the most advanced art\u003cbr\u003eThe expressive ideal of expressionism\u003cbr\u003ePrincipium stilisationis\u003cbr\u003eConstruction\u003cbr\u003eThe dialectic of expression and construction\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 7\u003c\/b\u003e\u003cbr\u003eNature is historical\u003cbr\u003eConstruction and form\u003cbr\u003eA critique of the creator role\u003cbr\u003eThe aversion to expression\u003cbr\u003eThe reduction of the individual\u003cbr\u003eFalling silent after Auschwitz\u003cbr\u003eThe crisis of meaning\u003cbr\u003eThe limits of construction\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 8\u003c\/b\u003e\u003cbr\u003eThe crisis of meaning (contd.)\u003cbr\u003eGiving a voice to mutilated nature\u003cbr\u003eExpression of alienation\u003cbr\u003eDefamiliarization\u003cbr\u003eConsistency of construction\u003cbr\u003eAleatory music\u003cbr\u003eThe problem of characters\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 9\u003c\/b\u003e\u003cbr\u003eThe Platonic doctrine of beauty\u003cbr\u003eIntroduction to an interpretation of the Phaedrus\u003cbr\u003eEnthousiasmos\u003cbr\u003eBeauty as a form of madness\u003cbr\u003eBeing seized\u003cbr\u003ePain as a constituent of the experience of beauty\u003cbr\u003eNot a definition\u003cbr\u003eIdea\u003cbr\u003eThe subjectivity of beauty\u003cbr\u003eThe imitation of the idea of beauty\u003cbr\u003eThe aspect of danger in beauty\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 10\u003c\/b\u003e\u003cbr\u003eInterpretation of the Phaedrus, contd.\u003cbr\u003eThe paradox of beauty\u003cbr\u003eThe image of beauty\u003cbr\u003eAffinity with death\u003cbr\u003eElevating oneself above the contingent world Kant's theory of the sublime\u003cbr\u003eThe sensual and the spiritual in art\u003cbr\u003eForce field\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 11\u003c\/b\u003e\u003cbr\u003eOntology and dialectic in Plato\u003cbr\u003eThe relationship between beauty and art\u003cbr\u003eThe aspect of ugliness\u003cbr\u003eThe aspect of sensual pleasure\u003cbr\u003eAesthetic experience\u003cbr\u003e'Throw away in order to gain!'\u003cbr\u003eThe meaning of the whole\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 12\u003c\/b\u003e\u003cbr\u003eRecapitulation\u003cbr\u003eEnjoyment of art\u003cbr\u003eThe inhabitant\u003cbr\u003eFetishism\u003cbr\u003eAesthetic enjoyment\u003cbr\u003eThe suspension of the principium individuationis\u003cbr\u003eUnderstanding works of art\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 13\u003c\/b\u003e\u003cbr\u003eReflective co-enactment\u003cbr\u003eAesthetic stupidity\u003cbr\u003eTranslation, commentary, critique\u003cbr\u003eThe spiritualization of art\u003cbr\u003eConstructivism\u003cbr\u003eThe dialectic of sensual and spiritual aspects in the work of art\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 14\u003c\/b\u003e\u003cbr\u003eSpiritual content\u003cbr\u003eThe structural context\u003cbr\u003eForce field\u003cbr\u003eThe allergy to sensual pleasure\u003cbr\u003eAesthetics without beauty\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 15\u003c\/b\u003e\u003cbr\u003eCorrecting the definition of the work of art\u003cbr\u003eAlienation\u003cbr\u003eReference to the object in visual art\u003cbr\u003e'Abstract' art\u003cbr\u003eForm as sedimented content\u003cbr\u003eLoss of tension\u003cbr\u003eTheoretical preconditions of artistic experience\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 16\u003c\/b\u003e\u003cbr\u003eBeauty and truth\u003cbr\u003eNaturalism\u003cbr\u003eTruth of expression\u003cbr\u003eCoherence\u003cbr\u003eNecessity\u003cbr\u003eThe idea of beauty as something internally in motion\u003cbr\u003eHomeostasis\u003cbr\u003eThe mediated truth\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 17\u003c\/b\u003e\u003cbr\u003eSubjectivism and objectivism in aesthetics\u003cbr\u003eHegel's critique of taste\u003cbr\u003eThe physiognomy of the aesthete\u003cbr\u003eGoût quamd même\u003cbr\u003eAccumulated experience\u003cbr\u003eFashion\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 18\u003c\/b\u003e\u003cbr\u003eA critique of aesthetic subjectivism\u003cbr\u003eA critique of psychological aesthetics\u003cbr\u003eMethodology\u003cbr\u003eThe immediacy of subjective reactions is mediated\u003cbr\u003eThe consumption of prestige\u003cbr\u003eThe emotional relationship with art\u003c\/p\u003e \u003cp\u003eLECTURE 19\u003cbr\u003eRecapitulation\u003cbr\u003e'The Tired Businessman's Show'\u003cbr\u003eConceptless synthesis\u003cbr\u003eThe cognition of art\u003cbr\u003eDefensive reactions to modern art\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 20\u003c\/b\u003e\u003cbr\u003eRecapitulation\u003cbr\u003eThe rancour of those left behind towards new art\u003cbr\u003eSemi-literacy\u003cbr\u003eThe alienation of modern art from consumption is itself social\u003cbr\u003eLukács's pseudo-realism\u003cbr\u003eThe concept of ideology\u003cbr\u003eKant's subjectivism\u003cbr\u003eA critique of the theory of aesthetic experience\u003cbr\u003eThe ambiguity of the work of art\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLECTURE 21\u003c\/b\u003e\u003cbr\u003eRecovery of the truth\u003cbr\u003eThe idea lies in the totality of aspects\u003cbr\u003e'... being completely filled with the matter'\u003cbr\u003eExperience\u003cbr\u003eThe psychology of the artist\u003cbr\u003eEmpathy\u003cbr\u003eThe work of art as objectified spirit\u003cbr\u003eArtistic production\u003c\/p\u003e \u003cp\u003eAdorno's Notes for the Lectures\u003c\/p\u003e \u003cp\u003eEditor's Notes\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Philosophy [\u003ca title=\"See our other books on Philosophy\" 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