Aesthetic Theory

Contents......Page 6
Translator's Acknowledgments......Page 10
Translator's Introduction......Page 12
Art's Self-Evidence Lost......Page 26
Against the Question of Origin......Page 27
Truth Content and the Life of Works......Page 28
On the Relation of Art and Society......Page 29
Critique of the Psychoanalytic Theory of Art......Page 33
The Art Theories of Kant and Freud......Page 34
"The Pleasure of Art"......Page 38
Aesthetic Hedonism and the Happiness of Knowledge......Page 39
Deaestheticization of Art, Critique of the Culture Industry......Page 41
Language of Suffering......Page 43
The New: Its Philosophy of History......Page 44
On the Problem of Invariance; Experiment (I)......Page 48
Defense of Isms......Page 49
Isms as Secularized Schools......Page 50
"Second Reflection"......Page 51
The New and Duration......Page 52
Dialectic of Integration and the "Subjective Point"......Page 54
The New, Utopia and Negativity......Page 57
Modern Art and Industrial Production......Page 58
Aesthetic Rationality and Criticism......Page 59
Canon of Prohibitions......Page 60
Experiment (II), Seriousness and Irresponsibility......Page 62
Black as an Ideal......Page 64
Relation to Tradition......Page 65
Subjectivity and Collective......Page 66
Solipsism, Mimetic Taboo, and Maturity......Page 67
Métier......Page 68
Expression and Construction......Page 69
On the Category of the Ugly......Page 70
Ugliness: Its Social Aspect and Its Philosophy of History......Page 73
On the Concept of the Beautiful......Page 75
Mimesis and Rationality......Page 78
On the Concept of Construction......Page 81
Technology......Page 83
Dialectic of Functionalism......Page 85
Condemnation of Natural Beauty......Page 86
Natural Beauty as a "Stepping Out into the Open"......Page 88
On Cultural Landscape......Page 89
Natural Beauty and Art Beauty Are Interlocked......Page 90
The Experience of Nature Is Historically Deformed......Page 93
Aesthetic Apperception Is Analytical......Page 94
Natural Beauty as Suspended History......Page 95
Determinate Indeterminateness......Page 96
Nature as a Cipher of the Reconciled......Page 98
Hegel's Critique of Natural Beauty: Its Metacritique......Page 99
Transition from Natural to Art Beauty......Page 102
"More" as Semblance......Page 103
Enlightenment and Shudder......Page 104
Art and the Art-Alien......Page 106
The Nonexistent......Page 107
Image Character......Page 108
"Explosion"......Page 109
Image Content Is Collective......Page 110
Art as Spiritual......Page 111
Immanence of Works and the Heterogeneous......Page 113
On Hegel's Aesthetics of Spirit......Page 115
Dialectic of Spiritualization......Page 116
Spiritualization and the Chaotic......Page 118
Art's Intuitability Is Aporetic......Page 119
Intuitability and Conceptuality......Page 122
Crisis of Semblance......Page 125
Semblance, Meaning, and "tour deforce"......Page 130
Toward the Redemption of Semblance......Page 132
Expression and Dissonance......Page 135
Subject-Object......Page 136
Expression as Eloquence......Page 137
Domination and Conceptual Knowledge......Page 138
Expression and Mimesis......Page 139
Dialectic of Inwardness; Aporias of Expression......Page 140
The Mimetic and the Ridiculous......Page 143
Cui bono......Page 144
Enigmaticalness and Understanding......Page 145
"Nothing shall be left unchanged"......Page 147
Enigma, Script, Interpretation......Page 149
Interpretation as Imitation......Page 150
Fractured Transcendence......Page 151
On the Truth Content of Artworks......Page 152
Art and Philosophy; Collective Content of Art......Page 155
Truth as Semblance of the Illusionless......Page 156
Mimesis of the Fatal and Reconciliation......Page 158
Methexis in Darkness......Page 159
Logicality......Page 161
Logic, Causality, Time......Page 162
Purposefulness without Purpose......Page 164
Form......Page 165
Form and Content......Page 168
The Concept of Articulation (I)......Page 171
On the Concept of Material......Page 172
The Concept of Subject Matter; Intention and Content......Page 174
Intention and Meaning......Page 176
The Crisis of Meaning......Page 177
The Concept of Harmony and the Ideology of Closure......Page 182
Affirmation......Page 184
Critique of Classicism......Page 185
Subjective and Objective are Equivocal; On Aesthetic Feeling......Page 188
Critique of Kant's Concept of Objectivity......Page 190
Linguistic Quality and Collective Subject......Page 191
Subject-Object Dialectic......Page 193
"Genius"......Page 194
Originality......Page 197
Fantasy and Reflection......Page 198
Objectivity and Reification......Page 199
Aesthetic Experience Is Processual......Page 200
Artifact and Genesis......Page 203
The Artwork as Monad and Immanent Analysis......Page 204
Art and Artworks......Page 206
History Is Constitutive; "Intelligibility"......Page 207
The Necessity of Objectivation and Dissociation......Page 208
Unity and Multiplicity......Page 211
The Category of Intensity......Page 212
"Why a work can rightfully be said to be beautiful"......Page 213
"Depth"......Page 214
The Concept of Articulation (II)......Page 215
On the Differentiation of Progress......Page 216
Development of Productive Forces......Page 217
The Transformation of Artworks......Page 218
Truth Content Is Historical; The Sublime in Nature and Art......Page 219
The Sublime and Play......Page 222
Nominalism and the Decline of Genres......Page 224
On Antiquity's Genre-Aesthetics......Page 227
Philosophy of History of Conventions......Page 228
On the Concept of Style......Page 230
The Progress of Art......Page 232
The History of Art Is Inhomogeneous......Page 234
Progress and Domination of the Material......Page 235
"Technique"......Page 237
Art in the Industrial Age......Page 242
Nominalism and Open Form......Page 244
Construction, Static and Dynamic......Page 247
Double Character of Art; fait social and Autonomy; On the Fetish Character......Page 250
Reception and Production......Page 253
Choice of Thematic Material; Artistic Subject; Relation to Science......Page 254
Art as Comportment......Page 257
Ideology and Truth......Page 258
"Guilt"......Page 259
On the Reception of Advanced Art......Page 260
Mediation of Art and Society......Page 261
Critique of Catharsis; Kitsch and the Vulgar......Page 263
Attitude to Praxis; Effect, Lived Experience, "Shudder"......Page 266
Commitment......Page 271
Aestheticism, Naturalism, Beckett......Page 273
Against Administered Art......Page 275
The Possibility of Art Today......Page 276
Autonomy and Heteronomy......Page 277
Political Option......Page 279
Progress and Reaction......Page 281
Primacy of the Object and Art......Page 283
The Problem of Solipsism and False Reconciliation......Page 284
Paralipomena......Page 287
Theories on the Origin of Art......Page 350
The Obsolescence of Traditional Aesthetics......Page 357
The Changing Function of Naïveté......Page 360
Irreconcilability of Traditional Aesthetics and Contemporary Art......Page 363
Truth-Content and the Fetish Character of Artworks......Page 365
The Need for Aesthetics......Page 366
Aesthetics as the Refuge of Metaphysics......Page 368
Aesthetic Experience as Objective Understanding......Page 370
On the Dialectics of Aesthetic Experience......Page 373
Universal and Particular......Page 375
Critique of the Phenomenological Research of Origin......Page 376
Relation to Hegel's Aesthetics......Page 377
The Open Character of Aesthetics; Aesthetics of Form and Aesthetics of Content (I)......Page 378
Aesthetics of Form and Aesthetics of Content (II); Norms and Slogans......Page 380
Methodology, "Second Reflection," History......Page 382
Editors' Afterword......Page 386
Notes......Page 392
B......Page 404
J......Page 405
P......Page 406
W......Page 407
Z......Page 408