By Henry W. Pickford
Holocaust artistic endeavors intuitively needs to satisfy a minimum of standards: inventive (lest they be only old records) and historic (lest they distort the Holocaust or turn into basically artworks). The experience of Semblance locates this challenging inside philosophical aesthetics, as a model of the clash among aesthetic autonomy and heteronomy, and argues that Adorno's dialectic of aesthetic semblance describes the normative call for that artistic endeavors hold a dynamic stress among the 2. The feel of Semblance goals to maneuver past frequent debates surrounding postmodernism by way of demonstrating the usefulness of latest theories of which means and
understanding, together with these from the analytic culture. Pickford exhibits how the causal concept of names, the philosophy of tacit wisdom, the analytic philosophy of citation, Sartre's concept of the imaginary, the epistemology of testimony, and Walter Benjamin's dialectical photo may help explicate how person works of art satisfy creative and historic desiderata.
In shut readings of Celan's poetry, Holocaust memorials in Berlin, the quotational artist Heimrad Backer, Claude Lanzmann's movie Shoah, and paintings Spiegelman's photo novel Maus, Pickford deals interpretations that, of their precision, specificity, and readability, inaugurate a discussion among modern analytic philosophy and modern art.
The feel of Semblance is the 1st booklet to include modern analytic philosophy in interpretations of artwork and structure, literature, and picture in regards to the Holocaust.
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Extra info for The Sense of Semblance: Philosophical Analyses of Holocaust Art
In the first case, art’s specificum is its sublation of difference; in the second case, art’s specificum is its revelation of semiotic différance. In both cases art’s specificity renders it autonomous vis-à-vis everyday, nonaesthetic experience, and in that sense aesthetic semblance remains intact. It is from this sense of aesthetic semblance that Celan will take a significant step back, and toward, as I shall show, a unique form of aesthetic-historical materialism, which in turn fulfills the dual desiderata of the minimalist framework for Holocaust art.
It is not the case that the name ‘NN’ somehow metaphysically “contains” or “indicates” all the predicates (descriptions) that are ascribed to x and that one then undertakes to understand the fit between those descriptions and the speaker’s intention in using the name on a given occasion— the model upon which Derrida’s critique exacts such damage. ” The “life” of ‘NN’ as a proper name for x is thus one with the continued practice of calling x ‘NN,’ and that practice can change. Evans considers such a change in the life of a proper name and introduces a further refinement in his ideas.
Moreover he has an almost indescribable timidity [Furchtsamkeit]: for instance if a path leads past a police station, he darts sideways, suddenly changes direction. 59 We are at a nexus, between, from one direction, historical, singular specifica pertinent to a text’s genesis, and from another direction what could be called the aesthetic validity of the text, its readability, as such. 60 This double temporal relation between the poem’s “whence” and its “whither” is developed by Celan in his “Meridian” speech and, further, implicitly demonstrates the inadequacy of de Man’s model of aesthetic semblance as tropological illusion.
The Sense of Semblance: Philosophical Analyses of Holocaust Art by Henry W. Pickford