Read e-book online Reason and Horror: Critical Theory, Democracy and Aesthetic PDF

By Morton Schoolman

Morton Schoolman develops a desirable and fully new interpretation of the paintings of Horkenheimer and Adorno.

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Additional resources for Reason and Horror: Critical Theory, Democracy and Aesthetic Individuality

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What happens to the individuals spear is supposed to happen to the individual the spear represents. So from the standpoint of the terror the enemy threatens, the relation of magical thought to “equivalency” ultimately is ambiguous. ”11 Their purpose in stressing the importance of the “equivalency” between the object and its representation is to demonstrate that mastery is achieved through a substitution (what is done to the image of danger affects the danger itself) that distorts the object in thought even before the actual behavior of the object would be magically altered.

23 Enlightenment must sacrifice an aesthetic receptivity to the world as it is, initself, as it goes about its business of interpreting the world’s differences as unknowns apparently threatening the self’s preservation. This second and I think more consequential form of sacrifice is apparent in each of the three spectacular episodes of the Odyssey studied by Horkheimer and Adorno. In each tale its god or demigod fills the world with wonder and sets it apart as a world of qualitatively different experiences from the experiences of Odysseus’s own world.

Whitman: The Aesthetic Problem from the Point of View of the Artist (the Creator) Whitman’s prose, though especially his poetry, I will demonstrate, not only affirms but draws inspiration from an experience of the world divided between the world as it can be known and the world as it remains unknown. If it were not for a certain innocence in his enthusiastic embrace of technological progress, the philosophic motifs that in all their poetic variations spring from Whitman’s recognition of the unknown would qualify him as no less an opponent of the Enlightenment than Nietzsche and Adorno.

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