By Herbert Marcuse
The function of artwork in Marcuse’s paintings has usually been missed, misinterpreted or underplayed. His critics accused him of a faith of artwork and aesthetics that results in an break out from politics and society. but, as this quantity demonstrates, Marcuse analyzes tradition and paintings within the context of ways it produces forces of domination and resistance in society, and his writings on tradition and artwork generate the potential of liberation and radical social transformation.
The fabric during this quantity is a wealthy number of a lot of Marcuse’s released and unpublished writings, interviews and talks, together with ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem through Samuel Beckett for Marcuse’s 80th birthday with trade of letters; and plenty of articles that discover the position of artwork in society and the way it presents chances for liberation.
This quantity should be of curiosity to these new to Marcuse, mostly stated as an immense determine within the highbrow and social milieus of the Sixties and Nineteen Seventies, in addition to to the professional, giving entry to a wealth of fabric from the Marcuse Archive in Frankfurt and his deepest assortment in San Diego, a few of it released the following in English for the 1st time.
A entire creation via Douglas Kellner displays at the genesis, improvement, and tensions inside of Marcuse’s aesthetic, whereas an afterword by way of Gerhard Schweppenhäuser summarizes their relevance for the modern period.
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Additional resources for Art and Liberation (Collected Papers of Herbert Marcuse, Volume 4)
Marcuse’s synthesis of technology and art can be elucidated by unpacking his notion of an aesthetic reduction – an extremely provocative and progressive notion that has been little appreciated in many discussions of Marcuse’s concepts of aesthetics and technology. For Hegel, Marcuse suggests, great art reduces reality to its essentials and shows the fundamental constituents of spirit and freedom. The aesthetic reduction frees its object from all that is contingent and oppressive, and produces works of art that contain images of freedom and gratiﬁcation (ODM, pp.
A 1967 essay “Art in the One-Dimensional Society,” collected in this volume (pp. ) was ﬁrst presented as a lecture at the New York School of Visual Arts, March 8, 1967. In the text, Marcuse opens with an uncharacteristic personal confession, noting: I would like to say a few words about how I came to feel the need for occupying myself with the phenomenon of art . . It was some sort of despair or desperation. Despair in realizing that all language, all prosaic language, and particularly the traditional language somehow seems to be dead.
SRA, p. 207) Aragon and Éluard, Marcuse claims, returned to classical style and form to resist the banalization and brutalization of language under fascism. Likewise, in his novel cycle Monde réel, Aragon takes up the social novel to depict love and its negation by fascist totalitarianism, and his novel Aurélien provides a “picture of the whole epoch in its repercussions on the representative strata of society, and reﬂects the historical fate of the epoch in the personal story of the hero and the heroine, Aurélien and Bérénice” (SRA, p.