By David Cunningham, Nigel Mapp
Regardless of the hot upsurge of curiosity in Theodor Adorno's paintings, his literary writings stay in most cases ignored. but literature is a important aspect in his aesthetic conception. development at the present emergent curiosity in glossy philosophical aesthetics, this e-book deals a wide-ranging account of the literary parts of Adorno's pondering. Bringing jointly unique essays from a special overseas crew of participants, it bargains the reader a trouble-free direction during the significant components of Adorno's paintings during this quarter. it's divided into 3 sections, facing the concept that of literature, with poetry and poetics, and with modernity, drama and the unconventional respectively. even as, the publication offers a transparent experience of the original features of Adorno's philosophy of literature through significantly touching on his paintings to a couple of different influential theorists and theories together with modern postmodernist idea and cultural experiences.
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Extra info for Adorno And Literature
One might regard the doubleness of his later works, which both comply with and subvert the norms of realist literary fiction, as a compromise, and oppose it to the freer inventiveness of 'magic realism' (including that of a British writer such as Angela Carter) or to an uncompromised and uncompromising avant-garde practice (exemplified by B. S. Johnson in England, and Robbe-Grillet Cultural Theory and Literary Value 37 or Wittig in France, perhaps). However, in our view Ishiguro's form in Never Let Me Go is best understood in its own expressive terms.
Since, despite the 20 Adorno and Literature privilege literature or poetry is shown to have elsewhere in Adorno's writings, here such a generic or absolute status is strictly excluded, or at least subject to criticism. Adorno is certainly explicit in this criticism of others, such as Rudolf Borchardt and especially Heidegger who is his principal target here as elsewhere. Heidegger maintains this privileged role for poetry emphatically: it is for him the essence of art. But it is assumed through an ontological conception of poetry [Dichtung], which is conceived in much more expansive terms than conventional forms of poetry [Poesie].
There is something contradictory in deploring difficulty in texts while reinstating it at the level of their study. At the same time, we question any critical position that reduces cultural politics to a matter of 'identity', or analyses literary value in terms of what writing can provide by way of self-discovery or personal affirmation. Such an approach offers a restricted conception of what literature has to offer. And just because it favours work presented as consoling or confirming immanent 'identities', it neglects the capacity of literature to summon readers towards a more transcendent point of view which can then afford some purchase on the textual (and social) construction of identity in general.
Adorno And Literature by David Cunningham, Nigel Mapp