Download The Aesthetic Dimension: Toward A Critique of Marxist by Herbert Marcuse, Erica Sherover PDF

By Herbert Marcuse, Erica Sherover

Constructing an idea in short brought in Counterrevolution and Revolt, Marcuse right here addresses the shortcomings of Marxist aesthetic thought and explores a dialectical aesthetic during which paintings capabilities because the moral sense of society. Marcuse argues that paintings is the one shape or expression which can soak up the place faith and philosophy fail and contends that aesthetics bargains the final shelter for two-dimensional feedback in a one-dimensional society.

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The Aesthetic Dimension: Toward A Critique of Marxist Aesthetics

Constructing an idea in brief brought in Counterrevolution and rebel, Marcuse the following addresses the shortcomings of Marxist aesthetic conception and explores a dialectical aesthetic within which artwork features because the moral sense of society. Marcuse argues that artwork is the one shape or expression which can take in the place faith and philosophy fail and contends that aesthetics deals the final shelter for two-dimensional feedback in a one-dimensional society.

Extra resources for The Aesthetic Dimension: Toward A Critique of Marxist Aesthetics

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This would hold true of the classical drama as well as Brecht’s plays, of Goethe’s Wahlverwandtschaften as well as Günter Grass’s Hundejahre, of William Blake as well as Rimbaud. The obvious difference in the representation of the subversive potential is due to the difference in social structure with which these works are confronted: the distribution of oppression among the population, the composition and function of the ruling class, the given possibilities of radical change. These historical conditions are present in the work in several ways: explicitly, or as background and horizon, and in the language and imagery.

As ideology, it opposes the given society. ” If the liberation of human beings and nature is to be possible at all, then the social nexus of destruction and submission must be broken. This does not mean that the revolution becomes thematic; on the contrary, in the aesthetically most perfect works, it does not. It seems that in these works the necessity of revolution is presupposed, as the a priori of art. But the revolution is also as it were surpassed and questioned as to how far it responds to the anguish of the human being, as to how far it achieves a rupture with the past.

I term those works “authentic” or “great” which fulfill aesthetic criteria previously defined as constitutive of “authentic” or “great” art. In defense, I would say that throughout the long history of art, and in spite of changes in taste, there is a standard which remains constant. This standard not only allows us to distinguish between “high” and “trivial” literature, opera and operetta, comedy and slapstick, but also between good and bad art within these genres. There is a demonstrable qualitative difference between Shakespeare’s comedies and the Restoration Comedy, between Goethe’s and Schiller’s poems, between Balzac’s Comédie humaine and Zola’s Rougon-Macquart.

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