Spectres of the Aesthetic

New Left Review

Volumn , Issue 218, 1996, Pages 102-125

  Beech, Dave ^a   Roberts, John ^a  

^a NONE

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[No Author keywords available]

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EID: 0030501614     PISSN: 00286060     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (55)

1. Andrew Bowei, Aesthetics and Subjectivity: from Kant to Nietzsche, Manchester 1990, p. 1.
2. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
3. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
4. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
5. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
6. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
7. G.W.F. Hegel, Aesthetics, trans. T.M. Knox, Oxford 1975; Martin Heidegger, 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstader, London 1971; Pierre Bourdieu, Distinction, trans. Richard Nice, London 1984; Pierre Bourdieu, Alan Darbel and Dominique Schnapper, The Love of Art: European Art Museums and their Public, trans. C. Beattie and N. Merriman, Cambridge 1991; Paul de Man, The Rhetoric of Romanticism, New York 1984, and The Resistance to Theory, Minnesota 1986.
8. T.W. Adorno, Aesthetic Theory, trans. C. Lenhardt, London 1984.
9. Terry Eagleton, The Ideology of the Aesthetic, Oxford 1990; Fredric Jameson, Late Marxism: Adorno, or, the Persistence of the Dialectic, Verso, London 1990.
10. Terry Eagleton, The Ideology of the Aesthetic, Oxford 1990; Fredric Jameson, Late Marxism: Adorno, or, the Persistence of the Dialectic, Verso, London 1990.
11. F.D.E. Schleiermacher, Hermeneutics: The Handwritten Manuscripts, trans. James Duke and Jack Forstman, Missoula 1977.
12. Bowie, Aesthetics and Subjectivity, p. 114.
13. T.W. Adorno, The Culture Industry: Selected Essays on Mass Culture, ed. J.M. Bernstein London 1991.
14. J.M. Bernstein, The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno London 1992.
15. Ibid, p. 8.
16. See Bowie, Aesthetics and Subjectivity.
17. See Heidegger, 'The Origin of the Work of Art'.
18. See Peter Osborne, 'Adorno and the Metaphysics of Modernism: The Problem of a 'Postmodern' Art', in Andrew Benjamin, ed., The Problems of Modernity: Adorno and Benjamin, London 1989.
19. Bernstein, The Fate of Art, p. 4.
20. Ibid., p. 6.
21. Ibid.
22. Charles Harrison, 'The Ratification of Abstract Art', in Towards a New Art: Essays on the Background to Abstract Art 1910-20, London 1980, p. 151.
23. See Charles Harrison, 'Abstraction', in Primitivism, Cubism, Abstraction, London 1993. The specific arguments about abstract art seem haunted by his earlier work even as they attempt to bracket the relevance of institutional critique, but in other places this reserve drops, such as in the closing remarks of the Open University Study Guide: 'The concept of aesthetic experience, we suggest, points to a kind of critical awareness, hard to put into words precisely because it is an experience of the limits of language: an intuition that the representations of politics, of ethnics, of economics, of philosophy, of history, and, of course, of art history, are all and various forms of simplification', Charles Harrison and Paul Wood, 'Modernity and Modernism Reconsidered: Study Guide', Modern Art: Practices and Debates (Study Guide 4). Milton Keynes 1993, p. 50.
24. See Charles Harrison, 'Abstraction', in Primitivism, Cubism, Abstraction, London 1993. The specific arguments about abstract art seem haunted by his earlier work even as they attempt to bracket the relevance of institutional critique, but in other places this reserve drops, such as in the closing remarks of the Open University Study Guide: 'The concept of aesthetic experience, we suggest, points to a kind of critical awareness, hard to put into words precisely because it is an experience of the limits of language: an intuition that the representations of politics, of ethnics, of economics, of philosophy, of history, and, of course, of art history, are all and various forms of simplification', Charles Harrison and Paul Wood, 'Modernity and Modernism Reconsidered: Study Guide', Modern Art: Practices and Debates (Study Guide 4). Milton Keynes 1993, p. 50.
25. T.J Clark, 'Arguments about Modernism: A Reply to Michael Fried', in Francis Frascina, ed., Pollock and After: The Critical Debate, London 1985, p. 86.
26. Ibid., p. 84.
27. The discussion was produced as a video: 'T.J. Clark and Michael Fried in Conversation about Jackson Pollock', Open University, Modern Art: Practices and Debates, produced by Nick Levinson, programme notes by Paul Wood, BBC 1993. See Broadcast Notes 2, Modern Art: Practices and Debates, Milton Keynes 1993, pp. 31-4.
28. The discussion was produced as a video: 'T.J. Clark and Michael Fried in Conversation about Jackson Pollock', Open University, Modern Art: Practices and Debates, produced by Nick Levinson, programme notes by Paul Wood, BBC 1993. See Broadcast Notes 2, Modern Art: Practices and Debates, Milton Keynes 1993, pp. 31-4.
29. See Christopher S. Wood, 'Paul de Man and Art History', Flash Art, vol. 28, no. 183, Summer 1995.
30. Paul Wood, 'Mistaken Identities', Art-Language, new series, no. 1, June 1994.
31. Ibid., p. 16.
32. Ibid., p. 5.
33. See Paul Wood, 'Previous Convictions' (a review of Alex Callinicos, Against Postmodernism: A Marxist Critique), Oxford Art Journal, vol. 14, no. 1 (1991); and Alex Callinicos and Paul Wood, 'Marxism and Modernism: An Exchange Between Alex Callinicos and Paul Wood', Oxford Art Journal, vol. 15, no. 2 (1992).
34. See Paul Wood, 'Previous Convictions' (a review of Alex Callinicos, Against Postmodernism: A Marxist Critique), Oxford Art Journal, vol. 14, no. 1 (1991); and Alex Callinicos and Paul Wood, 'Marxism and Modernism: An Exchange Between Alex Callinicos and Paul Wood', Oxford Art Journal, vol. 15, no. 2 (1992).
35. Wood, 'Mistaken Identities', p. 13.
36. See Hilton Kramer, 'Modernism and Its Enemies', in Hilton Kramer, ed., The New Criterion Reader: The First Five Years, New York 1988.
37. Paul Wood, 'Mistaken Identities', p. 13.
38. Ibid., p. 5.
39. Ibid., p. 20.
40. Roy Bhaskar, Dialectic: The Pulse of Freedom, Verso, London 1993, p. 168.
41. Ibid.
42. Ibid, p. 125.
43. T.W. Adorno and Max Horkheimer, The Dialectic of Enlightenment, trans. John Cumming, Verso, London 1989, p. 41.
44. Charles Rosen and Henri Zerner, Romanticism and Realism: The Mythology of Nineteenth Century Art, London 1984, p. 18.
45. Ibid.
46. See John Roberts, 'Introduction: Art Has No History! Reflections on Art History and Historical Materialism', Art Has No History! The Making and Unmaking of Modern Art, Verso, London 1994.
47. Andreas Huyssen, After the Great Divide, Indiana 1986. Griselda Pollock, Mary Kelly et al., 'Disaffirmative and Strategic Practices', proceeedings from a public seminar at Vancouver Art Gallery, June 1989, ed. Judith Mastai, Parachute, no. 62, April-June 1991.
48. Andreas Huyssen, After the Great Divide, Indiana 1986. Griselda Pollock, Mary Kelly et al., 'Disaffirmative and Strategic Practices', proceeedings from a public seminar at Vancouver Art Gallery, June 1989, ed. Judith Mastai, Parachute, no. 62, April-June 1991.
49. Osborne, 'Adorno and the Metaphysics of Modernism, p. 23.
50. Adorno, Aesthetic Theory, p. 330.
51. Ibid., p. 174.
52. Jameson, Late Marxism, p. 152.
53. Matthew Arnold, Culture and Anarchy, ed. J. Dover Wilson, Cambridge 1983, p. 101. It should be noted that Arnold reserved the term 'philistine' for the middle class who, he thought, 'not only do not pursue sweetness and light, but who even prefer to them... business, chapels, teas-meetings'. Ibid.
54. Matthew Arnold, Culture and Anarchy, ed. J. Dover Wilson, Cambridge 1983, p. 101. It should be noted that Arnold reserved the term 'philistine' for the middle class who, he thought, 'not only do not pursue sweetness and light, but who even prefer to them... business, chapels, teas-meetings'. Ibid.
55. See Bourdieu, Distinction.