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Camilla Flodin
Uppsala Universitet
  1.  1
    Beyond Autonomy in Eighteenth-Century British and German Aesthetics.Karl Axelsson, Camilla Flodin & Mattias Pirholt (eds.) - 2020 - Routledge.
    This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts (...)
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  2. Art and the Possibility of a Liberated Nature.Camilla Flodin - 2019 - Adorno Studies 3 (1):79-93.
    In this article, I argue that Adorno’s conception of a possible reconciliation with nature is neither one of complete synthesis, nor absolute alienation. The most elaborated formulations regarding the possibility of such a reconciliation, which would be tantamount to a liberated nature, are to be found in Adorno’s aesthetics, and particularly in his discussion of the art–nature relation. The article engages Simon Hailwood’s recent criticism of the concept of the Anthropocene and his discussion of Adorno’s conception of the domination of (...)
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  3.  31
    Adorno and Schelling on the Art–Nature Relation.Camilla Flodin - 2018 - British Journal for the History of Philosophy 26 (1):176-196.
    When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s (...)
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  4.  16
    Adorno's Utopian Animals.Camilla Flodin - 2021 - In Anders Bartonek & Sven-Olov Wallenstein (eds.), Critical Theory: Past, Present, Future. pp. 103-117.
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  5.  58
    Of Mice and Men: Adorno on Art and the Suffering of Animals.Camilla Flodin - 2011 - Estetika 48 (2):139-156.
    Theodor W. Adorno’s criticism of human beings’ domination of nature is a familiar topic to Adorno scholars. Its connection to the central relationship between art and nature in his aesthetics has, however, been less analysed. In the following paper, I claim that Adorno’s discussion of art’s truth content (Wahrheitsgehalt) is to be understood as art’s ability to give voice to nature (both human and non-human) since it has been subjugated by the growth of civilization. I focus on repressed non-human nature (...)
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  6.  21
    Introduction to Special Issue : Adorno and the Anthropocene.Camilla Flodin & Anders S. Johansson - 2019 - Adorno Studies 3 (1).
    In this article, I argue that Adorno’s conception of a possible reconciliation with nature is neither one of complete synthesis, nor absolute alienation. The most elaborated formulations regarding the possibility of such a reconciliation, which would be tantamount to a liberated nature, are to be found in Adorno’s aesthetics, and particularly in his discussion of the art–nature relation. The article engages Simon Hailwood’s recent criticism of the concept of the Anthropocene and his discussion of Adorno’s conception of the domination of (...)
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  7.  9
    Hölderlin’s Higher Enlightenment.Camilla Flodin - 2020 - In Karl Axelsson, Camilla Flodin & Mattias Pirholt (eds.), Beyond Autonomy in Eighteenth-Century British and German Aesthetics. pp. 258-276.
    The purpose of this chapter is to analyze Hölderlin’s emphasis on the importance of aesthetic comportment for reconceiving the relationship between human beings and their surroundings, and for enabling what he calls a “higher enlightenment.” Hölderlin shares the romantic critique of the mechanistic conception of nature and life, and argues that human beings have to achieve a higher connection than the mechanical one between themselves and their surroundings. In order to establish this, the bond between human beings and their environment (...)
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  8.  6
    Introduction.Karl Axelsson, Camilla Flodin & Mattias Pirholt - 2020 - In Karl Axelsson, Camilla Flodin & Mattias Pirholt (eds.), Beyond Autonomy in Eighteenth-Century British and German Aesthetics.
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  9. Review of Deborah Cook's Adorno on Nature. [REVIEW]Camilla Flodin - 2013 - Florida Philosophical Review 13 (1):60-63.
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  10. “The Eloquence of Something That has No Language”: Adorno on Hölderlin’s Late Poetry.Camilla Flodin - 2018 - Adorno Studies 2 (1):1-27.
    This article focuses on the importance of Hölderlin for Adorno’s comprehension of the art–nature relationship. Adorno’s most detailed discussion of Hölderlin appears in the essay, “Parataxis: On Hölderlin’s Late Poetry.” Adorno has been accused of projecting his own philosophical beliefs on Hölderlin. However, I will show that there is valid support in Hölderlin’s poetry as well as in his philosophical and poetological writings to reinforce Adorno’s claim that Hölderlin’s late poetry is striving to give voice to what is traditionally thought (...)
     
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  11.  8
    Geoff Boucher, Adorno Reframed.Camilla Flodin - 2014 - Estetika 51 (1):146-148.
    A review of Geoff Boucher´s Adorno Reframed (London and New York: I. B. Tauris, 2013, 166 pp. ISBN 978-1-84885-947-0).
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