Abstract
Since Kant, the role of pleasure in the appreciation of art and beauty has been a frequent issue in German aesthetics. This article discusses Adorno's aesthetics in the light of this question. According to Alexander Nehamas, modernist art and aesthetics, starting with Kant and culminating in the twentieth century with Clement Greenberg, sacrificed pleasure for the sake of other aesthetic values. Although Adorno also was a deeply committed modernist, unlike the Kantians he did accept the need to relate aesthetic appreciation to pleasure and, ultimately, to a desire for happiness. The article compares this stance to that of Kant, who dismisses emotion completely. It also confronts Adorno with his criticisms of the culture industry. Ultimately, Adorno advocates a view of art as emotionally engaging, albeit often in negative, oblique ways, anticipating rather than directly presenting states of happiness and human integrity.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
