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semblance

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Journal Article
New German Critique (2021) 48 (2 (143)): 147–175.
Published: 01 August 2021
... by film’s representational base and its inability to achieve a neutral standpoint through the use of montage, which arranges the material without dominating it. Copyright © 2021 by New German Critique, Inc. 2021 Theodor W. Adorno film aesthetic heteronomy semblance mechanical reproduction...
Journal Article
New German Critique (2018) 45 (3 (135)): 73–95.
Published: 01 November 2018
...João Pedro Cachopo Abstract This article reappraises the relevance of Theodor W. Adorno’s aesthetics in the aftermath of the postmodern debate. It proposes a shift of focus from the concept of “semblance character” to the concept of “enigmatic character” in order to grasp what Adorno means...
Journal Article
New German Critique (2006) 33 (1 (97)): 73–118.
Published: 01 February 2006
..., “Rede über Lyrik und Gesellschaft,” in Noten zur Literatur, ed. Rolf Tiedemann, 4 vols. (Frankfurt am Main: Suhrkamp, 1958–74), 1:73–104. 15. The value of keeping in play and working with (rather than working through) art’s determinate indeterminacy, and of the semblance-character from which...
Journal Article
New German Critique (2014) 41 (2 (122)): 145–157.
Published: 01 August 2014
.... Hereafter cited as CE. 148  Work of Play Spiel-Raum: “What is lost in the withering of semblance [Schein], or decay of the aura, in works of art is matched by a huge gain in room-for-play [Spiel- Raum]. This space for play is widest in film”CE ( , 183).7 As she herself explains, Spielraum...
Journal Article
New German Critique (2016) 43 (3 (129)): 175–201.
Published: 01 November 2016
... of German Tragic Drama , translated by Osborne John . London : Verso . Benjamin Walter . 1966 . Walter Benjamin: Briefe , edited by Adorno Theodor W. Scholem Gershom . 2 vols . Frankfurt am Main : Suhrkamp . Bernstein J. M. 1997 . “Why Rescue Semblance...
Journal Article
New German Critique (2014) 41 (1 (121)): 93–120.
Published: 01 February 2014
... behind Benjamin’s work is the specter of totaliz­ ing myth; its antidote is the prospect of an escape point from the semblance conditions of myth. Against Hamacher and Fenves, the “pure mediacy” of open-ended communication without content is precisely the type of totaliz- ing form of semblance...
Journal Article
New German Critique (2008) 35 (2 (104)): 33–53.
Published: 01 August 2008
..., and speculative representation” (“Mimesis and Mimetology,” in Semblance of Subjectivity, ed. Tom Huhn and Lambert Zuidervaart [Cambridge, MA: MIT Press, 1997], 44). Bo Earle 37 death . . . was not the death of just any old man with dropsy...
Journal Article
New German Critique (2014) 41 (2 (122)): 125–144.
Published: 01 August 2014
... through technology. On the far right, Baeumler portrayed the cinematic experience as a poor man’s meta- physics. Although, in his view, cinema remained aesthetically inferior, its spir- itual impact was comparable with that of high art: “Everything real flows and vanishes. Only semblance is eternal...
Journal Article
New German Critique (2007) 34 (1 (100)): 141–163.
Published: 01 February 2007
... by this contradiction disappears and becomes the semblance of reconcili- ation (AT, 120). On the other hand, as one “steps outside the work” and ceases to experience it (AT, 120), which is essentially the state in which artworks can become commodifi ed, the enigmaticalness brought about by the contra- diction...
Journal Article
New German Critique (2021) 48 (2 (143)): 1–4.
Published: 01 August 2021
..., Adorno’s “Aesthetic Theory” ; Huhn and Zuidervaart, Semblance of Subjectivity ; Endres, Pichler, and Kittel, Eros und Erkenntnis . References Adorno Theodor W. Aesthetic Theory , translated by Hullot-Kentor Robert . Minneapolis : University of Minnesota Press , 1997...
Journal Article
New German Critique (2006) 33 (1 (97)): 1–3.
Published: 01 February 2006
..., “A Feminist Dialectic of the Enlightenment: Horkheimer and Adorno Revisited,” New German Critique, no. 56 (1992): 143–70; Sabine Wilke and Heidi Schlipphacke, “The Construction of a Gendered Subject: A Feminist Reading of Adorno’s Aesthetic Theory,” in The Semblance of Subjectivity: Essays in Adorno’s...
Journal Article
New German Critique (2014) 41 (2 (122)): 3–6.
Published: 01 August 2014
... in the controversy with Adorno in the 1930s. Miriam’s late reading of Benjamin focused on the concept of play. This con- cept offers the possibility of theorizing film as art; play is seen as distinct from but also in contrast to “semblance.” Play relates to technology differently from semblance. In play...
Journal Article
New German Critique (2016) 43 (3 (129)): 5–26.
Published: 01 November 2016
... observers such as Peter Uwe Hohendahl to go so far as to speak of the “radical nominalist stance [that] Adorno adopts with regard to art.”26 In Adorno’s posthumously published Aes- thetic Theory, the first mention of nominalism comes in his crucial discussion of aesthetic semblance (Schein...
Journal Article
New German Critique (2021) 48 (2 (143)): 107–123.
Published: 01 August 2021
... in a noninstrumental manner against its usurpation by rationalized reason. Why else would the requirement for beauty, uniqueness, and nonconceptuality—Kant’s “free lawfulness” once more—seem to matter in art? Why should this constellation come to form an ideal of art—the art of beautiful semblance—on its own...
Journal Article
New German Critique (2021) 48 (2 (143)): 23–41.
Published: 01 August 2021
.... In this image of collapse all the stigmata of the repulsive and the loathsome in modern art gather. Through the irreconcilable renunciation of the semblance of reconciliation, art holds fast to the promise of reconciliation in the midst of the unreconciled: this is the true consciousness of an age in which...
Journal Article
New German Critique (2016) 43 (3 (129)): 203–222.
Published: 01 November 2016
... and elaborate explication. Bann, then, is both real and an illusion, a real force in the material world and a concealing semblance that deludes those under it. Furthermore, it has a surface meaning that can occlude “all its implications” and lead one to ignore the other “possibilities” it “contains...
Journal Article
New German Critique (2020) 47 (2 (140)): 217–246.
Published: 01 August 2020
... in Benjamin’s critique of bourgeois aesthetics is autonomy, which he associates with the cultic function of art: “Insofar as the age of technological reproducibility separated art from its basis in cult, all semblance of art’s autonomy disappeared forever” ( SW , 3:109). Benjamin’s critique of autonomy...
Journal Article
New German Critique (2012) 39 (3 (117)): 189–205.
Published: 01 November 2012
... of certain collectors and particularly in separating things from their use values, this potential has to do with recognizing the role of semblance in representing human inclinations—specifically, with how archaic images function in historically illusory objects to offer the semblance of unchangeable...
Journal Article
New German Critique (2021) 48 (2 (143)): 5–21.
Published: 01 August 2021
... of cruelty and lust. Wesche’s analysis of the long-suspect “rescue of semblance [ Schein ]” in Adorno is equally coherent: “Art is the ‘rescue of semblance’ in the sense of the cunning, the purposiveness with which aesthetic form allows art to appear as if it ‘has no purpose’” ( WA , 165). According...
Journal Article
New German Critique (2019) 46 (1 (136)): 41–70.
Published: 01 February 2019
... in a society that provided opportunities for individuals to exercise freedom substantively, and Adorno observes a progressive atrophying of the subjective capacity for spontaneity under present social conditions. Nevertheless, “totality itself is also semblance. The rigidified institutions, the relations...