- Series: Theory and History of Literature (Book 88)
- Paperback: 416 pages
- Publisher: Univ Of Minnesota Press; 1 edition (August 12, 1998)
- Language: English
- ISBN-10: 0816618003
- ISBN-13: 978-0816618002
- Product Dimensions: 6 x 1 x 9 inches
- Shipping Weight: 1.2 pounds (View shipping rates and policies)
- Average Customer Review: 14 customer reviews
- Amazon Best Sellers Rank: #329,936 in Books (See Top 100 in Books)
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Aesthetic Theory (Theory and History of Literature) 1st Edition
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From Publishers Weekly
While the imitators of great literary theorists may have produced the least lucid, most jargon-laden and most parodied literary and cultural criticism since the 18th century, editors Wlad Godzich and Jochen Schulte-Sasse of the University of Minnesota's Theory and History of Literature series cannot be blamed for such excesses. Their 88-volume series, which contains some of the most cogent though still challenging criticism of the last 15 years, terminates with a volume from the controversial late Yale deconstructionist Paul de Man (Aesthetic Ideology) and a retranslated edition of mid-century Frankfurt School leader Theodore Adorno's Aesthetic Theory. This dignified leave-taking preempts the empty millennial speculation currently dominating postmodern studies, and leaves in its wake a generation of scholars reared on the series. (De Man: $49.95, 224p ISBN 0-8166-2203-5, $19.95 paper -2204-3; Adorno: $39.95, 448p ISBN 0-8166-1799-6, cloth only)
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
“….the fact that they [Continuum] are putting low price tags on works once published in expensive academic editions is something of which we can all be glad..” –Modern Painters, 2/05 --This text refers to an out of print or unavailable edition of this title.
Top customer reviews
Reading Hullot-Kentor's Translator's Introduction is a must. If you heed his suggestion and read the Draft Introduction first and then approach the beginning as he states, the text in general will make much more sense early on than if you try to start at the beginning and dive off the cliff into the chaos of words.
Finally, for those who can surmount these caveats, I believe you will, about one-third of the way through, begin to appreciate the effort for not only its choice snippets, but the work as a whole.
The central thesis of the book, though it runs through nearly all of Adorno's varied competencies, is that art and truth are indissolubly linked; there is no 'art appreciation' that does not fundamentally come to grips with human existence in its concretely solipsistic mode, and all great art from antiquity on requires an intelligent and 'disinterested' spectator, two manners of being late capitalism makes war on. As regards classical philosophical aesthetics, Adorno praises Kant for being *materially* attuned to what the 'generally' right Hegel was blind to in art and art's importance. This is a book for the already-learned, but even if you detest Adorno you're likely to absorb something worthwhile; he lets his hand slip much more than in earlier writings, saying *what he really thinks* about Schoenberg and Brecht and the rest of the gang.
Highly recommended for humanist scholars and practicing critics.
Most recent customer reviews
I received this in terrible condition. The front cover was significantly damaged by what seems to be a box-cutter (I myself...Read more