Art After Auschwitz
Bibliographic Data
| ID | 6141777 |
|---|---|
| Authors | Anna-Verena Nosthoff (0000-0003-0890-2511, corresponding author) |
| Year | 2014 |
| Volume | 10 |
| Issue | 3 |
| Pages | 300-319 |
| Publication date | 2014-11-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Cultural Politics an International Journal (JOURNAL) |
| Journal identifiers | ISSN: 1743-2197 • E-ISSN: 1751-7435 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/17432197-2795693 |
| OpenAlex | W2139656269 |
| Language | EN |
| Citations received | 2 |
| References cited | 17 |
This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. In spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity
Aesthetics · Art · Barbarism · Civilization · Complicity · German · Literature · Poetry · History · Law · Literature and Cultural Memory · Memory, Trauma, and Commemoration · Philosophy · Visual Culture and Art Theory
| Citations per year | 0.22 |
|---|---|
| Citation span | 2017 - 2018 (2) |
| Highly cited | No |