scholarly journals On Not Saying, Not Knowing and Thinking about Nothing: Adorno, Dionysius, Derrida and the Negation of Art

Paragraph ◽  
2018 ◽  
Vol 41 (2) ◽  
pp. 196-217
Author(s):  
Johanna Malt
Keyword(s):  
Jacques Derrida ◽  
Work Of Art ◽  
Negative Knowledge ◽  
Null Object ◽  
Theodor Adorno ◽  
Contemporary Work ◽  
Pseudo Dionysius

This article examines accounts of negation or the apophatic in Pseudo-Dionysius, Theodor Adorno and Jacques Derrida alongside a contemporary work of art by London Fieldworks, Null Object: Gustav Metzger Thinks about Nothing (2011). By exploring models of negative knowledge offered in these works, it asks what happens to the work of art when it becomes preoccupied with negation and how a work of art might embody or manifest — without reproducing — philosophical discourses about negation.

scholarly journals Cyclops CAmeo: Reactions of four 14- and 15-year-olds to their encounter with a contemporary work of art

1970 ◽  
pp. 173
Author(s):  
Helene Illeris
Keyword(s):  
Research Project ◽  
Work Of Art ◽  
Contemporary Work ◽  
Danish School ◽  
Educational Studies

«The Contemporary Work of Art as an Experiential Model for Pictorial Work in the Higher Grades of the Danish Folkeskole» is the working title for a research project carried out by the author at the Royal Danish School of Educational Studies in Copenhagen. The project covers: The reactions and strategies of 14- and 15-year-old- students in direct encounters with works ofcontemporary art, and how students are able (or unable) to use their experience of the encounter in their own pictorial work back in their school art classes. 

Genre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)

1989 ◽  
Vol 1 (3) ◽  
pp. 249-276 ◽  
Author(s):  
James A. Hepokoski
Keyword(s):  
Important Work ◽  
Work Of Art ◽  
Standard Practice ◽  
Artistic Production ◽  
Italian Opera ◽  
Structural Types ◽  
Historical Progress ◽  
Theodor Adorno ◽  
La Traviata

In the attempt to construct the ‘story’ of post-Rossinian Italian opera it has been standard practice to identify as the central plot the dissolution of traditional structural types and genres. The charting of those musical ‘facts’ that illustrate this dissolution is a familiar musicological endeavour, and there remains a persistent temptation not merely to notice the ever-weakening pull of convention but also to identify it with the notion of ‘historical progress’: a move towards the mature virtues of dramatic complexity, idiosyncrasy and flexibility. Considerations of established conventions and their modifications tend to encourage anti-generic evaluative positions, judgements which are then bolstered by appealing to influential aesthetic systems. Thus Benedetto Croce: ‘Every true work of art has violated some established kind and upset the ideas of the critics’. Or Theodor Adorno: ‘Actually, there may never have been an important work that corresponded to its genre in all respects’. Or Hans Robert Jauss: ‘The more stereotypically a text repeats the generic, the more inferior is its artistic character and its degree of historicity […]. A masterwork is definable in terms of an alteration of the horizon of the genre that is as unexpected as it is enriching’? So bewitching is this image of genre dissolution that artistic production is often assessed by the degree to which it rebels against the idées reçues of tradition or encourages the momentum of the ‘historically inevitable’.

Force and Vulnerability in Philosophy and Science

2015 ◽  
Vol 11 (2) ◽  
pp. 145-161
Author(s):  
John W. P. Phillips
Keyword(s):  
Immanuel Kant ◽  
Somatic Mutation ◽  
Jacques Derrida ◽  
Cultural Memory ◽  
Edmund Husserl ◽  
The Political ◽  
Cultural Inheritance ◽  
Immune Functions ◽  
Theodor Adorno ◽  
Starting Point

Taking as a starting point the challenge in finding ways of treating autoimmune disorders, this article constructs a hypothetical frame for enquiry that explores the connections between bioscience and, in a different register, the techniques of cultural memory. Putting the question of the long development and inheritance of immune functions (phylogenesis) in touch with that of cultural inheritance (epiphylogenesis), the article questions lines of continuity between somatic mutation, consciousness, technics, time, and media. For instance, drawing on a tradition that acknowledges Immanuel Kant, Edmund Husserl, Theodor Adorno, and Martin Heidegger, Bernard Stiegler’s attempt to mobilize the structure of the trace in the philosophy of Jacques Derrida results in a profound challenge to a technics that can be regarded as a powerful complement to biological evolutionary inheritance. The article proposes a critical reading of these traditions that would be sensitive to the political and biological implications of the paradoxical structures of immunity in the current climate of global biopolitics.

Blanchot, Maurice (1907–2003)

2018 ◽  
Author(s):  
John Caruana
Keyword(s):  
Jacques Derrida ◽  
Maurice Blanchot ◽  
Work Of Art ◽  
Experimental Fiction ◽  
Fiction Writers ◽  
Universal Category ◽  
Indeterminate Form ◽  
The Subject ◽  
To Come ◽  
De Man

Maurice Blanchot was one of Europe’s most influential essayists, theorists and experimental fiction writers. Roland Barthes, Michel Foucault, Paul de Man, Jacques Derrida and Emmanuel Levinas, notably, represent the major theorists of the second half of the last century who are indebted to Blanchot’s highly original – if not enigmatic – oeuvre. Throughout his life, Blanchot sought to minimize his status as a public figure and at times isolated himself from friends and colleagues. Blanchot’s modernism emphasizes the radical singularity of the artist’s production: the work of art completely thwarts all attempts to subsume it according to some pre-established universal category or identity. For Blanchot, écriture – art in its most indeterminate form – is an expression not of an author who actively and deliberately conceives and creates; rather, it is a reflection of an experience of radical passivity, the futile and always incomplete struggle with mortal existence. The work of art abandons the artist, the poet, the writer, to a state of permanent dislocation and exile. The nomadic nature of the artist’s experience testifies – in accentuated form – to the subject in general. Blanchot speaks famously of la communauté inavouable – the unavow-able or unworkable character of the community that is to come. Though this idea might suggest paralysis, it also speaks to the futility of all totalitarian aspirations. The radical heterogeneity of existence entails the inexhaustibility of humanity’s personal, social and political endeavours.

From Automaton to Autonomy

2021 ◽  
pp. 67-87
Author(s):  
Richard Begam
Keyword(s):  
Frankfurt School ◽  
Work Of Art ◽  
The Real ◽  
Political Autonomy ◽  
Mechanical Reproduction ◽  
German Cinema ◽  
Siegfried Kracauer ◽  
Theodor Adorno ◽  
Aesthetic Autonomy

This essay considers Fritz Lang’s Metropolis (1927) in relation to Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction” (1936) and the writings of two other Frankfurt School critics—Theodor Adorno and Siegfried Kracauer. Anticipating the larger argument of Benjamin’s essay, the film situates its central conflict around the “auratic” (as represented by Maria’s Christianity) and the “mechanical” (as embodied by Joh Fredersen’s technology). This conflict is crystallized by the robotic Maria, who is an exact duplicate of the real Maria. The essay highlights Adorno’s correspondence with Benjamin, examining how Metropolis itself engages with the positions these critics take on mechanical reproduction in film. Especially relevant in this regard is Kracauer’s classic study of German cinema, From Caligari to Hitler (1947), a book that levels against Lang the charge that Marxism often levels against modernism: its formalism mystifies its politics. The essay concludes with an analysis of the flood scene from Metropolis, demonstrating that the film’s formalism is not merely “ornamental”—as Kracauer claimed—and that for Lang political autonomy is inextricably linked with aesthetic autonomy.

scholarly journals The Portrayal of Indonesian Image in 2007 Kompas Selected Short Stories: Social Problems, Criticisms and Hopes

2010 ◽  
Vol 4 (2) ◽  
pp. 140
Author(s):  
Akun Akun
Keyword(s):  
Short Stories ◽  
Social Security ◽  
Natural Disasters ◽  
Social Problems ◽  
Minority Group ◽  
Bertolt Brecht ◽  
Negative Dialectics ◽  
Negative Knowledge ◽  
Theodor Adorno ◽  
The Social

Article aimed at exploring social problems reflected in 15 selected short stories printed in Kompas during 2007 both explicitly and implicitly. Specifically, this research is focused on the mapping of dominant social problems raised by the short stories, the social criticisms strongly voiced by the authors and the hopes of a better situation implicitly reflected in these interesting short stories. This study applies the Defamiliarization Effect promoted by Bertolt Brecht and Negative Dialectics or Negative Knowledge by Theodor Adorno, specifically in analyzing the literary works as a criticism tool. The result of the research shows that phenomena of social problems current lately in Indonesian context like identity, poverty, corruption, religious tensions, moral degradation, politics dirtiness, minority group problems, social security, natural disasters and the like are clearly seen and teased in these writings.

scholarly journals El modelo sin modelo: El teatro en la filosofía de Jacques Derrida

2015 ◽  
pp. 97
Author(s):  
Alejandro Fielbaum
Keyword(s):  
Jacques Derrida ◽  
Work Of Art

ResumenEl trabajo busca indagar en la importancia filosófica del teatro en el pensamiento de Jacques Derrida, a través del seguimiento de las discusiones que implícita o explícitamente refieren a tales temáticas desde sus primeros textos. Tras exponer lo pensado por Derrida como obra de arte, se indaga en la singularidad de la correspondiente al teatro, en tanto yuxtaposición de repetición y representación. Se busca demostrar que la insistencia derridiana en la imagen teatral ha sido injustamente desconsiderada por los intérpretes, puesto que en tal práctica presta la lógica del préstamo que monta el modelo de la falta demodelo desde el cual se constituiría, espectralmente, el sentido. Así, en tanto mi metología general, la deconstrucción poseería una matriz sugerentemente teatral, desde la cual sebusca introducir la lectura derridiana de los textos de Antonin Artaud.Palabras clave: Jacques Derrida, deconstrucción, teatroThe model without a model: the theater in the phylosophyof Jacques DerridaAbstractThe essay addresses the philosophical weight of theather in the thinking of Jacques Derrida, following the discussions that -in a implicit or explicit way- refer to the issue from his first texts. After the exposition of what Derrida conceives as a work of art, the singularity of the theather is described in terms of the yuxtaposition of repetition and representation. This article intends to show that the derridian insistence in the image of the theater has been wrongly understimated by the interpreters.Keywords: Jacques Derrida, deconstruction, theater

scholarly journals A New Study on the Contemporary Aesthetics based on the “Applied Ontology” Theory of Roger Pouivet

2020 ◽  
Vol 12 (6) ◽  
Author(s):  
Hoda Zabolinezhad ◽  
◽  
Parisa Shad Qazvini
Keyword(s):  
Research Method ◽  
Art World ◽  
Work Of Art ◽  
Applied Ontology ◽  
Contemporary Work ◽  
Virtual Documents ◽  
Research Questions ◽  
The Creation ◽  
Art Experts

This article, based on Roger Pouivet’s “Applied Ontology” Theory, studies the effect of Warhol’s Brilloo soap boxes. The work was challenged at the time of its performance and could not convince the art world of accepting it, as an artwork. The research questions of this article are: 1. In the contemporary period, what aesthetic criteria turn a human work into an artwork? 2. According to Pouivete’s “Applied Ontology” Theory, how and with what approach is contemporary work of art considered as the personal symbolism of the artist and how is the governing aesthetics read? The hypothesis of the article is that the work of art in any way includes formal and content symbolism. Basically, in the contemporary period, the artist’s personal symbolism plays a finishing role in the creation of the artwork by mixing with already known collective symbols in a culture. The result suggests that in Contemporary Aesthetics, a work is recognized as a work of art when it is debated and exchanged without the need for consensus among art experts. The research method of this article is analytical-qualitative which has been done by collecting library information and virtual documents.

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