The Ethics of Post‐Holocaust Art: Reflections on Redemption and Representation
Identifieur interne : 000922 ( Main/Exploration ); précédent : 000921; suivant : 000923The Ethics of Post‐Holocaust Art: Reflections on Redemption and Representation
Auteurs : Maeve CookeSource :
- German Life and Letters [ 0016-8777 ] ; 2006-04.
English descriptors
- Teeft :
- Adorno, Aesthetic construction, Aesthetic experience, Aesthetic experiences, Aesthetic pleasure, Appropriate response, Artistic responses, Authoritarianism, Autonomous, Autonomous agency, Blackwell, Catastrophic events, Certain kind, Charles taylor, Cognitive dimension, Concrete articulations, Critical discussion, Current memory debates, Desolate condition, Disclosure, Erziehung nach auschwitz, Ethical agency, Ethical conclusions, Ethical debate, Ethical dimension, Ethical disclosure, Ethical emotions, Ethical experience, Ethical issues, Ethical judgment, Ethical judgments, Ethical questions, Extreme situations, Formal qualities, Fulfil functions, Good society, Human beings, Human existence, Human knowledge, Humanity blossoms, Indispensable object, Instrumentalisation, Interpretative efforts, Journal compilation blackwell publishing, Kritische modelle, Literature instrumentalises, Maeve cooke, Marianne hirsch, Meaningful totalities, Meaningful totality, Minima moralia, Modern conception, National socialism, Negative aesthetics, Other words, Particular interpretations, Present deficiency, Present purposes, Proper understanding, Redemption, Redemptory, Redemptory dimension, Redemptory moment, Redemptory promise, Representational, Representational works, Same time, Social relations, Subject matter, Such works, Traditional redemptory, Transcendent, Transcendent object, True knowledge, Young attributes.
Abstract
The article deals with ethical questions relating to artistic responses to catastrophe. Its starting point is James E. Young's thesis that post‐Holocaust art must renounce the traditional redemptory promises of art. Against this, drawing on the work of Theodor W. Adorno, it makes the case for art's redemptory dimension. Whereas Young and Adorno disagree with regard to the idea of redemption, they agree in their approval of a certain kind of negative aesthetics. Both writers advocate particular kinds of art as the ethically most appropriate response to catastrophe. The article raises questions concerning the ethical dimension of the kinds of art they advocate. In addition, it warns against hypostasising just one kind of art as the only ethically valid response to catastrophe. Finally, it argues that representational works of art are also important since they offer a particular ethical perspective that can stimulate reflection and debate.
Url:
DOI: 10.1111/j.0016-8777.2006.00349.x
Affiliations:
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Its starting point is James E. Young's thesis that post‐Holocaust art must renounce the traditional redemptory promises of art. Against this, drawing on the work of Theodor W. Adorno, it makes the case for art's redemptory dimension. Whereas Young and Adorno disagree with regard to the idea of redemption, they agree in their approval of a certain kind of negative aesthetics. Both writers advocate particular kinds of art as the ethically most appropriate response to catastrophe. The article raises questions concerning the ethical dimension of the kinds of art they advocate. In addition, it warns against hypostasising just one kind of art as the only ethically valid response to catastrophe. Finally, it argues that representational works of art are also important since they offer a particular ethical perspective that can stimulate reflection and debate.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Cooke, Maeve" sort="Cooke, Maeve" uniqKey="Cooke M" first="Maeve" last="Cooke">Maeve Cooke</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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