ZEITSCHRIFTENARTIKEL
Jazz als paradigmatische Kunstform – Eine Metakritik von Adornos Kritik des Jazz
Bertram, Georg W. | Feige, Daniel Martin
Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Bd. 59 (2014), Iss. 1: S. 15–28
2 Citations (CrossRef)
Zusätzliche Informationen
Bibliografische Daten
Bertram, Georg W.
Feige, Daniel Martin
Cited By
-
Für das Sagbare
2023
https://doi.org/10.14361/9783839468333 [Citations: 0] -
Arnold Gehlen
Magerski, Christine
Thesis Eleven, Bd. 111 (2012), Heft 1 S.81
https://doi.org/10.1177/0725513612445369 [Citations: 3]
Abstract
In this paper, I discuss Adorno’s critique of jazz to develop a metacritique. I explain the basic objection of Adorno against jazz which states that jazz performances do not realize a law of form and therefore are not able to challenge subjects. According to my diagnosis, Adorno’s assessment of jazz is based on his conception of art for, firstly, Adorno excludes interactions of contributing to a law of form and, secondly, has a one-sided account of how art reflects subjectivity. If one works out a conception of art that avoids these shortcomings it is possible to conceive of jazz as a paradigmatic form of art.
Powered by CloudPublish