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- Flodin, Camilla, 1977-
(författare)
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Art and the Possibility of a Liberated Nature
- 2019
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Ingår i: Adorno Studies. - 1927-8748. ; 3:1, s. 79-93
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Tidskriftsartikel (refereegranskat)abstract
- In this article, I argue that Adorno's conception of a possible reconciliation with nature is neither one of complete synthesis, nor absolute alienation. The most elaborated formulations regarding the possibility of such a reconciliation, which would be tantamount to a liberated nature, are to be found in Adorno's aesthetics, and particularly in his discussion of the art–nature relation. The article engages Simon Hailwood’s recent criticism of the concept of the Anthropocene and his discussion of Adorno's conception of the domination of nature. While I concur with Hailwood's insistence on the idea of "alienation from nature" in order to reach a more appropriate understanding of our current predicament, his analysis of Adorno's take on this idea is problematic. I conclude by discussing another recent work on our troubled relationship with nature. While more attentive to artistic expressions than Hailwood's work, Andreas Malm's The Progress of This Storm constitutes an inverted parallel to the former through its negligence of Adorno’s contribution to the discussion of the human–nature dialectic.
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| 2. |
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| 3. |
- Flodin, Camilla, 1977-
(författare)
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"The eloquence of something that has no language" : Adorno on Hölderlin's Late Poetry
- 2018
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Ingår i: Adorno Studies. - 1927-8748. ; 2:1, s. 1-27
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on the importance of Hölderlin for Adorno's comprehension of the art–nature relationship. Adorno's most detailed discussion of Hölderlin appears in the essay, "Parataxis: On Hölderlin's Late Poetry." Adorno has been accused of projecting his own philosophical beliefs on Hölderlin. However, I will show that there is valid support in Hölderlin's poetry as well as in his philosophical and poetological writings to reinforce Adorno's claim that Hölderlin’s late poetry is striving to give voice to what is traditionally thought to be art's opposite: nature. The ability of art to mediate nature, and specifically natural beauty, is also of central importance in Adornos Aesthetic Theory, and many of the claims of the "Parataxis" essay re-emerge in this later work.
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| 4. |
- Johansson, Anders S, 1968-
(författare)
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Why Art? : The Anthropocene, Ecocriticism, and Adorno’s Concept of Natural Beauty
- 2019
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Ingår i: Adorno Studies. - 1927-8748. ; 3:1, s. 64-79
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The article confronts contemporary ecocriticism with Adorno’s concept of natural beauty. If ecocriticism may be understood as a reaction to climate change – the gravity of the situation turns the academic into an activist – a fundamental question often remains unanswered: why should we turn to art if we are facing ecological disaster? The article then presents Adorno’s answer to this question, an answer that is closely tied to his theory of natural beauty. A crucial point in Adorno’s discussion of nature is that we no longer have access to it. We are stuck in a second nature which deprives us of all contact with first nature. But the closest we can get to this absent nature is art, and more precisely natural beauty, which contains both a memory of something lost, and a promise of something yet to come. Therefore the aesthetic experience is a moment where the subject may approach something unknown – something which is not subject, not human – in a non-dominating way. In that sense art may be our best option to get out of the anthropocentrism which prevents us from even understanding the current situation. After a comparison with contemporary theorists like Timothy Morton and Claire Colebrook, the article finally turns to Andrei Tarkovsky’s film The Sacrifice in order to illustrate what the strange combination of memory and promise in natural beauty may look like in practice.
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| 5. |
- Johansson, Anders, 1963-
(författare)
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The Concept of the Anthropocene and the Jargon of Authenticity
- 2019
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Ingår i: Adorno Studies. - 1927-8748. ; 3:1, s. 34-46
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Tidskriftsartikel (refereegranskat)abstract
- In The Jargon of Authenticity Adorno criticizes the jargon he argues is to be found amongst followers of Heidegger. He describes it as displaying a fetishizing of understanding as belonging, and as a ground for authenticity, meaning and identity. This article develops the idea that Adorno’s critique also allows us to understand certain aspects of contemporary discussions concerning phenomena such as global warming and the Anthropocene. A common reaction to these phenomena is that we have to make them graspable through stories that make facts comprehensible, and that tie us together in unity and enable understanding. But if we were to follow Adorno, we might, instead of continuing to believe in meaning and communication within a community of understanding that has proven itself to be the part of the problem, try to create poetry that imitates “the dead speaking of stones.” Understanding could then, perhaps, be something else.
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