Mikiko Hirayama
- Published in print:
- 2011
- Published Online:
- November 2016
- ISBN:
- 9780824834418
- eISBN:
- 9780824871239
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824834418.003.0011
- Subject:
- History, Asian History
This chapter examines the evolution of modern Japanese art criticism from the 1880s to the late 1930s, with particular emphasis on the discourse on yōga. It begins with a discussion of three ...
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This chapter examines the evolution of modern Japanese art criticism from the 1880s to the late 1930s, with particular emphasis on the discourse on yōga. It begins with a discussion of three categories of art criticism in Japan: “scientific,” “literary,” and “journalistic.” It then considers the rise of art criticism in Japanese mass media before turning to specialized art periodicals that began to emerge during the 1880s. It also explores “impressionistic criticism” by so-called dilettantes; the issue of jury selection for the Japanese exhibits at the Paris World Fair of 1900; alternative approaches to art criticism during the decade of 1910; the problems associated with “impressionistic criticism” and the call for “scientific criticism” in the 1930s; and the question of whether critics and artists should advocate the autonomy of art. The chapter concludes with an overview of art criticism under the New Order.Less
This chapter examines the evolution of modern Japanese art criticism from the 1880s to the late 1930s, with particular emphasis on the discourse on yōga. It begins with a discussion of three categories of art criticism in Japan: “scientific,” “literary,” and “journalistic.” It then considers the rise of art criticism in Japanese mass media before turning to specialized art periodicals that began to emerge during the 1880s. It also explores “impressionistic criticism” by so-called dilettantes; the issue of jury selection for the Japanese exhibits at the Paris World Fair of 1900; alternative approaches to art criticism during the decade of 1910; the problems associated with “impressionistic criticism” and the call for “scientific criticism” in the 1930s; and the question of whether critics and artists should advocate the autonomy of art. The chapter concludes with an overview of art criticism under the New Order.
Peter Uwe Hohendahl
- Published in print:
- 2013
- Published Online:
- August 2016
- ISBN:
- 9780801452369
- eISBN:
- 9780801469282
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801452369.001.0001
- Subject:
- Literature, European Literature
This book reexamines Theodor Adorno's Aesthetic Theory along with his other writings on aesthetics in light of the unexpected return of the aesthetic to today's cultural debates. Is Adorno's ...
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This book reexamines Theodor Adorno's Aesthetic Theory along with his other writings on aesthetics in light of the unexpected return of the aesthetic to today's cultural debates. Is Adorno's aesthetic theory still relevant today? This question is answered with an emphatic yes. As the book shows, a careful reading of the work exposes different questions and arguments today than it did in the past. Over the years Adorno's concern over the fate of art in a late capitalist society has met with everything from suspicion to indifference. In part this could be explained by relative unfamiliarity with the German dialectical tradition in North America. Today's debate is better informed, more multifaceted, and further removed from the immediate aftermath of the Cold War and of the shadow of postmodernism. Adorno's insistence on the radical autonomy of art has much to offer contemporary discussions of art and the aesthetic in search of new responses to the pervasive effects of a neoliberal art market and culture industry. The book shows how radically transformative Adorno's ideas have been and how thoroughly they have shaped current discussions in aesthetics. Among the topics considered are the role of art in modernism and postmodernism, the truth claims of artworks, the function of the ugly in modern artworks, the precarious value of the literary tradition, and the surprising significance of realism for Adorno.Less
This book reexamines Theodor Adorno's Aesthetic Theory along with his other writings on aesthetics in light of the unexpected return of the aesthetic to today's cultural debates. Is Adorno's aesthetic theory still relevant today? This question is answered with an emphatic yes. As the book shows, a careful reading of the work exposes different questions and arguments today than it did in the past. Over the years Adorno's concern over the fate of art in a late capitalist society has met with everything from suspicion to indifference. In part this could be explained by relative unfamiliarity with the German dialectical tradition in North America. Today's debate is better informed, more multifaceted, and further removed from the immediate aftermath of the Cold War and of the shadow of postmodernism. Adorno's insistence on the radical autonomy of art has much to offer contemporary discussions of art and the aesthetic in search of new responses to the pervasive effects of a neoliberal art market and culture industry. The book shows how radically transformative Adorno's ideas have been and how thoroughly they have shaped current discussions in aesthetics. Among the topics considered are the role of art in modernism and postmodernism, the truth claims of artworks, the function of the ugly in modern artworks, the precarious value of the literary tradition, and the surprising significance of realism for Adorno.
