Uses of the dialectical image
Adorno, surrealism, Breton, Benjamin
Bibliographic Data
| ID | 12342156 |
|---|---|
| Authors | Darren Jorgensen (0000-0003-4313-2110, The University of Western Australia, corresponding author) |
| Year | 2014 |
| Volume | 28 |
| Issue | 6 |
| Pages | 876-884 |
| Publication date | 2014-08-04 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Continuum (JOURNAL) |
| Journal identifiers | ISSN: 1030-4312 • E-ISSN: 1469-3666 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/10304312.2014.941328 |
| OpenAlex | W1986752398 |
| Language | EN |
| References cited | 15 |
Contemporary interpretations of Walter Benjamin's concept of the dialectical image tend to substitute object images, such as photographs, for subjective ones. In his own time, Benjamin's contemporaries Theodor Adorno and Andre Breton were suspicious of the role that objective images played in commodity capitalism. Adorno's Frankfurt School Marxism and Breton's Marxist surrealism illustrate the way that subjective images can be mobilized to think through the totality of capitalism rather than its products. This essay argues against the confusion of the dialectical image and its method with commodities
Aesthetics · Art · Art history · Capitalism · Commodity · Confusion · Dialectic · Economics · Epistemology · Late capitalism · Linguistics · Marxist philosophy · Object (grammar · Political science · Politics · Psychoanalysis · Sociology · Art, Politics, and Modernism · Law · Philosophy · Psychology · Visual Culture and Art Theory · Walter Benjamin Studies Compilation
The Work of Art in the Age of Mechanical Reproduction
Manifestoes of Surrealism
Dialectical image today
Dialectical imagery and postmodern research
Modest Recording Instruments ’
The Origins of Negative Dialectics
Surrealism
Marxism and form
The Photographic Conditions of Surrealism
Aesthetics and Anaesthetics
The Beach (A Fantasy)
| Citation velocity | historical |
|---|---|
| Highly cited | No |