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The Problem of Aesthetic Truth in Adorno’s Aesthetics Ⅰ: Truth Content in Works of Art

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2022, 65(), pp.28-49
  • DOI : 10.17527/JASA.65.0.02
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : December 8, 2021
  • Accepted : January 8, 2022
  • Published : February 28, 2022

Young Yoon Kwak 1

1고려대학교

Accredited

ABSTRACT

This paper deals with the problem of aesthetic truth, which plays a key role in the aesthetics of Theodor W. Adorno. He accepted Georg Wilhelm Friedrich Hegel’s point of view that the purpose of art is not enjoyment or usefulness, but aesthetic truth. Adorno also received the aesthetics of Friedrich Schiller and Hegel, who explain art as aesthetic semblance, and sees art as an autonomous being as well as the appearance of the idea. However, unlike Hegel, who regarded the Idea as the unity of concept and reality, for Adorno, the idea is a reconciliation between spirit and nature, and such reconciliation is symbolically achieved in works of art in which irrational moments such as emotions and impulses are coherently composed. The truth contents of works of art are social and historical, and they are inherent in the non-conceptual language of art. This paper exemplifies the truth contents of art in Ludwig van Beethoven’s Piano Sonata and Paul Celan’s lyrics. Since the truth contents inherent in the works of art are not explicitly revealed, the works of art have a riddle-character. Thus, works of art need criticism, a philosophical reflection that will solve their riddles.

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