Blind Representation”
On the Epic Naiveté of the Cinema
Bibliographic Data
| ID | 16714867 |
|---|---|
| Authors | Michael D''Arcy (0000-0003-4129-8539, corresponding author), Michael D’Arcy |
| Year | 2015 |
| Volume | 25 |
| Issue | 2 |
| Publication date | 2015-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Postmodern Culture (JOURNAL) |
| Journal identifiers | ISSN: 1053-1920 • E-ISSN: 1053-1920 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/pmc.2015.0006 |
| OpenAlex | W2285290161 |
| Language | EN |
| References cited | 8 |
This essay argues that Theodor Adorno’s reflections on the novel form respond to a problem that is focused in his commentaries on the cinema: how to develop forms of aesthetic rationality at a historical moment in which medium-specific aesthetic reflection may be obsolete. Adorno’s commentaries on novelistic and filmic language register this historical situation of art. At the same time, this line of thought serves a crucial underlying interest of Adorno’s aesthetic theory – to maintain art’s thought of uneven development, its vanishing distinction from the technological forms of its social context
Aesthetics · Art · Context (archaeology · EPIC · Epistemology · Literature · Movie theater · Politics · Rationality · Representation (politics · Sociology · Art, Politics, and Modernism · Critical Theory and Philosophy · History · Law · Philosophy · Walter Benjamin Studies Compilation
| Highly cited | No |
|---|