Aesthetics after Adorno: between progress and autonomy
DOI:
https://doi.org/10.11606/issn.2318-9800.v30i1p147-162Keywords:
modernism, Critical theory, Aesthetic, autonomyAbstract
This article seeks to critically evaluate the reception of Theodor Adorno's aesthetics, considering two fundamental concepts: autonomy and progress. We will analyze how Adorno's work was associated with a one-sided perspective of modernism, insofar as his conception of autonomous art was supposedly based on technical progress. Our hypothesis is that this reception lost sight of the critique of progress sustained by Adorno's aesthetics. We therefore propose a different reading, recovering Adorno's critique of progress in order to articulate a notion of the autonomy of art that can contribute to recent debates on contemporary art.
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