David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Philosophy and Social Criticism 37 (8):915-933 (2011)
The concept of autonomy has had a central place in the German aesthetic tradition since the eighteenth century, specifically, after Kant's Critique of the Power of Judgment. Although Kant denied that aesthetic judgments yield cognitive truth, aesthetic judgments are autonomous in that they do not rely on or presuppose a concern with the object's purpose, utility, or even its actual existence. For Theodor Adorno, the autonomy of art lies in the work of art, in its production, not specifically in the aesthetic judgments of the subject. This article shows that by shifting autonomy from aesthetic judgments to art production, Adorno effectively makes art the reservoir for human freedom. Although this point is often eluded to in Adorno scholarship by individuals such as Tom Huhn and Lambert Zuidervaart, it is often passed over without additional explanation and discussion
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Lambert Zuidervaart (2003). Cultural Paths and Aesthetic Signs: A Critical Hermeneutics of Aesthetic Validity. Philosophy and Social Criticism 29 (3):315-340.
Adrian Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
James Gordon Finlayson (2012). The Artwork and the Promesse du Bonheur in Adorno. European Journal of Philosophy 23 (1).
Tom Huhn (1996). The Movement of Mimesis: Heidegger's 'Origin of the Work of Art' in Relation to Adorno and Lyotard. Philosophy and Social Criticism 22 (4):45-69.
G. I. Demiryol (2012). Film as a Mobilizing Agent? Adorno and Benjamin on Aesthetic Experience. Philosophy and Social Criticism 38 (9):939-954.
Adrian M. S. Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
Tom Huhn (ed.) (2004). The Cambridge Companion to Adorno. Cambridge University Press.
Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. British Journal of Aesthetics 53 (1):21-39.
Jennifer A. McMahon (2011). Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas. International Journal of Philosophical Studies 19 (2):155 - 175.
Bed P. Paudyal (2009). Mimesis in Adorno's Aesthetic Theory. Journal of Philosophy: A Cross-Disciplinary Inquiry 4 (8):1-10.
Camilla Flodin (2011). Of Mice and Men: Adorno on Art and the Suffering of Animals. Estetika 48 (2):139-156.
Albert Hofstadter (1975). Kant's Aesthetic Revolution. Journal of Religious Ethics 3 (2):171 - 191.
Added to index2011-08-26
Total downloads36 ( #67,514 of 1,696,538 )
Recent downloads (6 months)1 ( #343,026 of 1,696,538 )
How can I increase my downloads?