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Exact Imagination, Late Work on Adorno's Aesthetics

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Until now, most English-language writing on Adorno has attempted to place him in various contexts and to differentiate him from other thinkers. Such work, while important, masks our failure to imaginatively appropriate Adorno's ideas. In Exact Imagination, Late Work, Shierry Weber Nicholsen begins the process of appropriation through the centrality of the aesthetic dimension.

Adorno uses the term "exact imagination" to describe nondiscursive rationality. Exact imagination, which is the opposite of creative imagination, marks the conjunction of knowledge, subjective experience, and aesthetic form. Unlike exact imagination, "late work" is characterized by the disjunction of subjectivity and objectivity.

Exact imagination and late work mark the bounds of Nicholsen's exploration. The five interlocked essays, based on material from Adorno's "aesthetic writings," take up such issues as subjective aesthetic experience, the historicity of artworks and our experience of them, Adorno's conception of language, the nature of configurational or constellational form in Adorno's work, and the relation between the artwork, aesthetic experience, and philosophy. A subtext is the unraveling of Adorno's use of the ideas of his colleague Walter Benjamin. Nicholsen's essays themselves can be perceived as a constellation of their own around the central issue of the inseparability of form in its aesthetic dimension and nondiscursive rationality.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

111.85'092 NIC e

Penerbit

Cambridge : The MIT Press., 1997

Deskripsi Fisik

viii + 270 pg.; 19,5 cm.

Bahasa

English

ISBN/ISSN

0262140624

Klasifikasi

111.85\'092

Tipe Isi

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Tipe Media

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Tipe Pembawa

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Edisi

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Subjek

Aesthetics

Info Detail Spesifik

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Pernyataan Tanggungjawab

Shierry W. Nicholsen

Versi lain/terkait

Lampiran Berkas

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