Theodor W. Adorno's Struggle with the Concept
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The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2. -
Arts, Entertainment, and Recreation
Arts, Entertainment, and Recreation SCOPE The Arts, Entertainment, and Recreation sector (sector 71) includes a wide range of establish- ments that operate facilities or provide services to meet varied cultural, entertainment, and recre- ational interests of their patrons. This sector comprises (1) establishments that are involved in producing, promoting, or participating in live performances, events, or exhibits intended for pub- lic viewing; (2) establishments that preserve and exhibit objects and sites of historical, cultural, or educational interest; and (3) establishments that operate facilities or provide services that enable patrons to participate in recreational activities or pursue amusement, hobby, and leisure time interests. Some establishments that provide cultural, entertainment, or recreational facilities and services are classified in other sectors. Excluded from this sector are: (1) establishments that provide both accommodations and recreational facilities, such as hunting and fishing camps and resort and casino hotels are classified in Subsector 721, Accommodation; (2) restaurants and night clubs that provide live entertainment, in addition to the sale of food and beverages are classified in Subsec- tor 722, Food Services and Drinking Places; (3) motion picture theaters, libraries and archives, and publishers of newspapers, magazines, books, periodicals, and computer software are classified in Sector 51, Information; and (4) establishments using transportation equipment to provide recre- ational and entertainment services, such as those operating sightseeing buses, dinner cruises, or helicopter rides are classified in Subsector 487, Scenic and Sightseeing Transportation. Data for this sector are shown for establishments of firms subject to federal income tax, and sepa- rately, of firms that are exempt from federal income tax under provisions of the Internal Revenue Code. -
Two Conceptions of Harmony in Ancient Western and Eastern Aesthetics: “Dialectic Harmony” and “Ambiguous Harmony”
TWO CONCEPTIONS OF HARMONY IN ANCIENT WESTERN AND EASTERN AESTHETICS: “DIALECTIC HARMONY” AND “AMBIGUOUS HARMONY” Tak-lap Yeung∗ Abstract: In this paper, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful. The different understandings of the concept of harmony lead to at least two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. Through an explication of the original meaning and relation between the concept of harmony and beauty, we can learn more about the cosmo-metaphysical origins in Western and Eastern aesthetics, with which we may gain insights for future aesthetics discourse. Introduction It is generally accepted that modern philosophy can trace itself back to two major origin points, ancient Greece in the West and China in the East. To understand the primary presuppositions of Western and Eastern philosophical aesthetics, we must go back to these origins and examine the core concepts which have had a great influence on later aesthetic representation. Inspecting the conception of “harmony”, a central concept of philosophical aesthetic thought for both the ancient Greek and Chinese world, may bring us valuable insight in aesthetic differences which persist today. In the following, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful.1 The different understandings of the concept of harmony lead to, at least, two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. -
How Fun Are Your Meetings? Investigating the Relationship Between Humor Patterns in Team Interactions and Team Performance
University of Nebraska at Omaha DigitalCommons@UNO Psychology Faculty Publications Department of Psychology 11-2014 How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock Vrije University Amsterdam Joseph A. Allen University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/psychfacpub Part of the Industrial and Organizational Psychology Commons Recommended Citation Lehmann-Willenbrock, Nale and Allen, Joseph A., "How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance" (2014). Psychology Faculty Publications. 118. https://digitalcommons.unomaha.edu/psychfacpub/118 This Article is brought to you for free and open access by the Department of Psychology at DigitalCommons@UNO. It has been accepted for inclusion in Psychology Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. In press at Journal of Applied Psychology How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock1 & Joseph A. Allen2 1 VU University Amsterdam 2 University of Nebraska at Omaha Acknowledgements The initial data collection for this study was partially supported by a grant from the German Research Foundation, which is gratefully acknowledged. We appreciate the support by Simone Kauffeld and the helpful feedback by Steve Kozlowski. Abstract Research on humor in organizations has rarely considered the social context in which humor occurs. One such social setting that most of us experience on a daily basis concerns the team context. Building on recent theorizing about the humor—performance association in teams, this study seeks to increase our understanding of the function and effects of humor in team interaction settings. -
Spring-And-Summer-Fun-Pack.Pdf
Spring & Summer FUN PACK BUILD OUR KIDS' SUCCESS Find many activities for kids in Kindergarten through Grade 9 to get moving and stay busy during the warmer months. Spring & Summer FUN PACK WHO IS THIS BOOKLET FOR? 1EVERYONE – kids, parents, camps, childcare providers, and anyone that is involved with kids this summer. BOKS has compiled a Spring & Summer Fun Pack that is meant to engage kids and allow them to “Create Their Own Adventure of Fun” for the warmer weather months. This package is full of easy to follow activities for kids to do independently, as a family, or for camp counselors/childcare providers to engage kids on a daily basis. We have included a selection of: BOKS Bursts (5–10 minute activity breaks) BOKS lesson plans - 30 minutes of fun interactive lessons including warm ups, skill work, games and nutrition bits with video links Crafts Games Recipes HOW DOES THIS WORK? Choose two or three activities daily from the selection outlined on page 4: 1. Get physically active with Bursts and/or BOKS fitness classes. 2. Be creative with cooking and crafts. 3. Have fun outdoors (or indoors), try our games! How do your kids benefit? • Give kids time to play and have fun. • Get kids moving toward their 60 minutes of recommended daily activity. • Build strong bones and muscles with simple fitness skills. • Reduce symptoms of anxiety. • Encourage a love of physical activity through engaging games. • We encourage your kids to have fun creating their own BOKS adventure. WHO WE ARE… BOKS (Build Our Kids' Success) is a FREE physical activity program designed to get kids active and establish a lifelong commitment to health and fitness. -
HARMONY HAMMOND with Phillip Griffith
Art June 3rd, 2016 INCONVERSATION HARMONY HAMMOND with Phillip Griffith Harmony Hammond made her start as an artist in the feminist milieu of 1970s New York, co-founding A.I.R. Gallery, the first women’s gallery, in 1972. Her early artwork developed a feminist, lesbian, and queer idiom for painting and sculpture, especially in such celebrated works as her woven and painted Floorpieces (1973) and wrapped sculptures, like Hunkertime (1979 – 80). Since 1984, she has lived and worked in New Mexico. Her current show at Alexander Gray Associates (May 19 – June 25, 2016) showcases what she calls her “near monochrome” paintings and monotype prints on grommeted paper that Lucy Lippard has termed “grommetypes.” On the occasion of the exhibition’s opening, Hammond spoke with Phillip Griffith about martial arts, the painting body, and violence in her work. Phillip Griffith (Rail): Your paintings from this new exhibition seem appreciably different than the wrapped paintings included in your 2013 show with Alexander Gray. Harmony Hammond: Well, Things Various (2015), the earliest painting in the current exhibition, segues from the 2013 work. The visual vocabulary of grommeted straps—sometimes tied together, sometimes not—attached to the thick paint surface with pigment-covered pushpins, is the same. Only in Things Various, most of the straps hang open, untied, suggesting only the potential of connection or restraint. The new paintings continue to emphasize the material engagement of paint, but differ from the earlier work through the use of the grommeted grid as a disruptive visual strategy and the shift to what is going on beneath/below/under what we perceive as the painting surface. -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
NATURE, SOCIOLOGY, and the FRANKFURT SCHOOL by Ryan
NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Sociology – Doctor of Philosophy 2014 ABSTRACT NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson Through a systematic analysis of the works of Max Horkheimer, Theodor W. Adorno, Herbert Marcuse, and Erich Fromm using historical methods, I document how early critical theory can conceptually and theoretically inform sociological examinations of human-nature relations. Currently, the first-generation Frankfurt School’s work is largely absent from and criticized in environmental sociology. I address this gap in the literature through a series of articles. One line of analysis establishes how the theories of Horkheimer, Adorno, and Marcuse are applicable to central topics and debates in environmental sociology. A second line of analysis examines how the Frankfurt School’s explanatory and normative theories of human- animal relations can inform sociological animal studies. The third line examines the place of nature in Fromm’s social psychology and sociology, focusing on his personality theory’s notion of “biophilia.” Dedicated to 바다. See you soon. iii ACKNOWLEDGEMENTS I owe my dissertation committee immense gratitude for offering persistent intellectual and emotional support. Linda Kalof overflows with kindness and her gentle presence continually put my mind at ease. It was an honor to be the mentee of a distinguished scholar foundational to the formation of animal studies. Tom Dietz is the most cheerful person I have ever met and, as the first environmental sociologist to integrate ideas from critical theory with a bottomless knowledge of the environmental social sciences, his insights have been invaluable. -
Hansen, Cinema and Experience: Siegfried Kracauer, Walter
Cinema and Experience WEIMAR AND NOW: GERMAN CULTURAL CRITICISM Edward Dimendberg, Martin Jay, and Anton Kaes, General Editors Cinema and Experience Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno Miriam Bratu Hansen UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2012 by Th e Regents of the University of California Library of Congress Cataloging-in-Publication Data Hansen, Marian Bratu, 1949–2011. Cinema and experience : Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno / Miriam Bratu Hansen. p. cm.—(Weimar and now: German cultural criticism ; 44) Includes bibliographical references and index. isbn 978-0-520-26559-2 (cloth : alk. paper) isbn 978-0-520-26560-8 (pbk. : alk. paper) 1. Motion pictures. 2. Kracauer, Siegfried, 1889–1966—Criticism and interpretation. 3. Benjamin, Walter, 1892–1940—Criticism and interpretation. 4. Adorno, Th eodor W., 1903–1969—Criticism and interpretation. I. Title. PN1994.H265 2012 791.4309—dc23 2011017754 Manufactured in the United States of America 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Rolland Enviro100, a 100 percent postconsumer fi ber paper that is FSC certifi ed, deinked, processed chlorine-free, and manufactured with renewable biogas energy. -
Creativity in Nietzsche and Heidegger: the Relation of Art and Artist
Creativity in Nietzsche and Heidegger: The Relation of Art and Artist Justin Hauver Philosophy and German Mentor: Hans Sluga, Philosophy August 22, 2011 I began my research this summer with a simple goal in mind: I wanted to out- line the ways in which the thoughts of Friedrich Nietzsche and Martin Heidegger complement one another with respect to art. I had taken a few courses on each philosopher beforehand, so I had some inclination as to how their works might be brought into agreement. However, I almost immediately ran into difficulty. It turns out that Heidegger, who lived and thought two or three generations after Nietzsche, had actually lectured on the topic of Nietzsche's philosophy of art and had placed Nietzsche firmly in a long tradition characterized by its mis- understanding of art and of the work of art. This means that Heidegger himself did not agree with me|he did not see his thoughts on art as complementary with Nietzsche's. Rather, Heidegger saw his work as an improvement over the misguided aesthetic tradition. Fortunately for me, Heidegger was simply mistaken. At least, that's my thesis. Heidegger did not see his affinity with Nietzsche because he was misled by his own misinterpretation. Nevertheless, his thoughts on art balance nicely with those of Nietzsche. To support this claim, I will make three moves today. First, I will set up Heidegger's critique, which is really a challenge to the entire tradition that begins with Plato and runs its course up to Nietzsche. Next, I will turn to Heidegger's views on art to see how he overcomes the tradition and answers his own criticism of aesthetics. -
Turkish German Muslims and Comedy Entertainment CURRENT ISSUES in ISLAM
Turkish German Muslims and Comedy Entertainment CURRENT ISSUES IN ISLAM Editiorial Board Baderin, Mashood, SOAS, University of London Fadil, Nadia, KU Leuven Goddeeris, Idesbald, KU Leuven Hashemi, Nader, University of Denver Leman, Johan, GCIS, emeritus, KU Leuven Nicaise, Ides, KU Leuven Pang, Ching Lin, University of Antwerp and KU Leuven Platti, Emilio, emeritus, KU Leuven Tayob, Abdulkader, University of Cape Town Stallaert, Christiane, University of Antwerp and KU Leuven Toğuşlu, Erkan, GCIS, KU Leuven Zemni, Sami, Universiteit Gent Turkish German Muslims and Comedy Entertainment Settling into Mainstream Culture in the 21st Century Benjamin Nickl Leuven University Press Published with the support of the Popular Culture Association of Australia and New Zealand University of Sydney and KU Leuven Fund for Fair Open Access Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Benjamin Nickl, 2020 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. The licence allows you to share, copy, distribute and transmit the work for personal and non- commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: B. Nickl. 2019. Turkish German Muslims and Comedy Entertainment: Settling into Mainstream Culture in the 21st Century. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) Further details about Creative Commons licences -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent.