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The destinies of the work of art: A...

Duquesne University.

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The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno./
作者:	Giordano, John Thomas.
面頁冊數:	183 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4804.
Contained By:	Dissertation Abstracts International56-12A.
標題:	Fine Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9611779

The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno.
Giordano, John Thomas.

The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno. - 183 p.

Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4804.

Thesis (Ph.D.)--Duquesne University, 1995.

For Holderlin and Adorno, the power to transcend one's being-in-nature in order to capture nature in an image, is both the most dangerous and the most beautiful aspect of the human being.Subjects--Topical Terms:

891065
Fine Arts.

The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno.
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245 1 4 $a The destinies of the work of art: Aesthetic theories in Hoelderlin and Adorno.
300 $a 183 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4804.
502 $a Thesis (Ph.D.)--Duquesne University, 1995.
520 $a For Holderlin and Adorno, the power to transcend one's being-in-nature in order to capture nature in an image, is both the most dangerous and the most beautiful aspect of the human being.
520 $a Holderlin develops a model of reconciliation of man with nature where the transcendental power, as soon as it achieves a vision of nature, violates true nature by virtue of its finitude and so must pay for this "hybris" through self-sacrifice.
520 $a What I hope to show most strikingly in this dissertation is the manner in which the work of art is a material thing, a direction, a process and a destiny, and how any engagement with the work operates along its destiny.
520 $a Adorno appropriates this model for the work of art. Nature can never be captured directly, but only indirectly, by the attempt and failure to capture it directly. This is the role of the work of art. A good work of art is one which criticizes its own appearing quality. It recognizes its own hybris and "explodes" its appearance. In the afterglow of this explosion, true nature "expresses itself".
520 $a Holderlin limits this sacrificial model to Greek humanity. Modern humanity does not follow this negative dialectical model of reconciliation with nature. It conditions nature through its movement away from its source. The Modern poem also becomes a type of movement, a pathway involving an alternation of representations or tones. Each poetic "path" creates truth in the process of its own movement. There is no longer any true nature to reconcile with, but nature is transformed by the particular path chosen and followed. In this way, each work of art creates its own destiny.
520 $a Adorno misses this aspect of Holderlin. Whereas Adorno needed the sacrificial dynamic to provide a place for philosophical reflection at a safe distance from the work of art, Holderlin's Modern dynamic places any philosophical reflection within the material destiny of any individual work. It is Walter Benjamin who recognizes this Modern dynamic and his disagreements with Adorno are reflected in the difference between their interpretations of Holderlin.
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