Endgames
"Reconstructing Adorno's "End of Art
Datos Bibliográficos
| ID | 4071288 |
|---|---|
| Autores | Eva Geulen (0009-0004-3700-1661, autor de correspondencia) |
| Año | 2000 |
| Número | 81 |
| Páginas | 153 |
| Fecha de publicación | 2000-01-01 |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | New German Critique (JOURNAL) |
| Identificadores de la revista | ISSN: 0094-033X • E-ISSN: 1558-1462 |
| Editorial | JSTOR (PUBLISHER) |
| DOI | 10.2307/488551 |
| OpenAlex | W2318129993 |
| Idioma | EN |
| Citas recibidas | 3 |
Adorno's reflections on art depend on the notion of an 'end of art;' but this end is ambivalent.1 This ambivalence is not reducible to the characteristic oscillation between a utopian end of art on the one hand, and its disastrous end, or, as Adorno sometimes says, its wrong demise, on the other. Already the origin of art as represented by the sirens episode in the Dialectic of Enlightenment, to which its authors return as if magically drawn several times in the course of the Odysseus chapter, involves more than one end: not only is the origin of art said to coincide with the end of the sirens' song, not only have all songs fallen ill since Odysseus's encounter with the sirens2 and are therefore destined to end, whether they are healed or whether they die
Aesthetics · Art · Byzantine Studies and History · Critical Theory and Philosophy · Philosophy · Walter Benjamin Studies Compilation
| Citas por año | 0,25 |
|---|---|
| Intervalo de citas | 2014 - 2018 (5) |
| Altamente citado | No |