Cildenā koncepts Teodora Adorno darbā “Estētikas teorija”
Date
2016
Authors
Karlsbergs, Gusts
Journal Title
Journal ISSN
Volume Title
Publisher
Latvijas Universitāte
Abstract
Šī darba mērķis ir apskatīt ideju par cildeno, kas rodama Teodora Adorno darbā 'Estētikas teorija', un izklāstīt to veidā, kas ļauj to pretstatīt un salīdzināt ar citu filozofu uzskatiem par cildeno. Nākas secināt, ka cildenais, ko estētikas vēsturē mēdz uzskatīt par visaugstāko mākslas novērtējumu, līdz ar 'Estētikas teoriju' un modernisma mākslu sasniedz savu galējo fāzi. Modernisma māksla nav tikai dialektiska antitēze sabiedrībai, kurā tā ir radusies, bet, atšķirībā no citiem mākslas virzieniem, arī antitēze pilnīgi visai cilvēces, estētikas un mākslas vēsturei. Tāpēc modernajā mākslā cildenais nav tāds, kāds tas bija agrāk. Ar tā relevanci tas kļūst irrelevants.
The aim of this work is to explore the idea of the sublime found in Theodor Adorno's 'Aesthetic Theory' and present it in a way which enables a juxtaposition with other theories concerning the sublime. It can be inferred that the sublime, which possibly is the highest appraisal in art, along with 'Aesthetic Theory' and the modern art has come to its final phase. Modern art is not only a dialectical antithesis to the society to which it belongs, but unlike other art movements, it is also the antithesis to the whole history of humanity, aesthetics and art. Therefore the sublime is different in modern art than it has ever been before. With its relevance it becomes irrelevant.
The aim of this work is to explore the idea of the sublime found in Theodor Adorno's 'Aesthetic Theory' and present it in a way which enables a juxtaposition with other theories concerning the sublime. It can be inferred that the sublime, which possibly is the highest appraisal in art, along with 'Aesthetic Theory' and the modern art has come to its final phase. Modern art is not only a dialectical antithesis to the society to which it belongs, but unlike other art movements, it is also the antithesis to the whole history of humanity, aesthetics and art. Therefore the sublime is different in modern art than it has ever been before. With its relevance it becomes irrelevant.
Description
Keywords
Filozofija , Teodors Adorno , 'Estētikas teorija' , cildenais , estētika , modernā māksla