By John Rundell
Aesthetics and Modernity brings jointly Agnes Heller's most modern essays round the subject matters of aesthetic genres akin to portray, tune, literature and comedy, aesthetic reception, and embodiment. The essays draw on Heller's deep appreciation of aesthetics in all its types from the classical to the Renaissance and the modern classes. Heller's fresh paintings on aesthetics explores the advanced and fraught prestige of artistic endeavors in the context of the background of modernity. For Heller, not just does the relation among aesthetics and modernity must be checked out anew, but in addition the best way those phrases are conceptualized, and this is often the two-fold activity that she units for herself in those essays. She engages this activity with a serious acceptance of modernity's pitfalls. This assortment highlights those pitfalls within the context of continuous percentages for aesthetics and our courting with artworks, and throws gentle on Heller's idea of feelings and emotions, and her conception of modernity. Aesthetics and Modernity collects the basic essays of Agnes Heller, and is a must-read for a person attracted to Heller's significant contributions to philosophy.
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Extra info for Aesthetics and Modernity: Essays by Agnes Heller
All those heterogeneous things are presented and represented in works of art without a single exception. They participate in beauty insofar as they are “incorporated” by the evocative power of the work, insofar as they are properly formed. 13 The “aestheticization” of the concept of the beautiful began with the religious cult of the works of art and with the cultivation of “aesthetic taste” in the service of this newly founded quasi-religion. As a result, aestheticization expands—it encompasses the way of life, the emotional household.
It does not originate in the reaffirmation of the category of value-orientation “beautiful” (“this is beautiful”), but in the negation of the truth of the affirmative sentence. ” Just as the Concepts of the True and of the Good are born through the negation of everyday “opinions” concerning truth and goodness, so is their fellow-idea, the Beautiful. Philosophers locate the Real, True Beauty in a world higher than our common world, a different world. We do not only live in one world, but in many.
This means that for us things like the beauty of the Idea or the One does not make much sense, for we do not love those abstractions. Beautiful is the wine or the particular food that we love. 29 The aesthetic experience is an autonomous experience; it has nothing to do with loving a wine or a particular food. Aesthetic theory is not the theory of beauty but the theory of art. If you still want a theory of beauty, it belongs to the theory of love. I would not protest too vehemently against the idea that the theory of beauty belongs to the theory of love.
Aesthetics and Modernity: Essays by Agnes Heller by John Rundell