David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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European Journal of Philosophy 23 (3):392-419 (2015)
Adorno's saying that ‘art is the promise of happiness’ radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with and throws into relief the antagonistic nature of society. The trouble is that this answer is flatly incompatible with Adorno's historicism and central components of his aesthetic modernism, including his critique of classicism, and his negativism. I propose a re-interpretation of Adorno's thesis that art is the promise of happiness that overcomes these difficulties
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References found in this work BETA
Adorno, W. Theodor, H. Albert, R. Dahrendorf, J. Habermas, H. Pilot & K. Popper (1976). The Positivist Dispute in German Sociology. Heinemann Educational Books.
Raymond Geuss (2003). Outside Ethics. European Journal of Philosophy 11 (1):29–53.
R. Wolin (1979). The De-Aestheticization of Art: On Adorno's Aesthetische Theorie. Télos 1979 (41):105-127.
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