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Books > Humanities > Philosophy > Western philosophy > Modern Western philosophy, c 1600 to the present > Western philosophy, from c 1900 - > Analytical & linguistic philosophy
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The Sense of Semblance - Philosophical Analyses of Holocaust Art (Hardcover)
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The Sense of Semblance - Philosophical Analyses of Holocaust Art (Hardcover)
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The Sense of Semblance is the first book to incorporate
contemporary analytic philosophy in interpretations of art and
architecture, literature, and film about the Holocaust. The book's
principal aim is to move beyond the familiar debates surrounding
postmodernism by demonstrating the usefulness of alternative
theories of meaning and understanding from the Anglophone analytic
tradition. The book takes as its starting point the claim that
Holocaust artworks must fulfill at least two specific yet
potentially reciprocally countervailing desiderata: they must meet
aesthetic criteria (lest they be, say, merely historical documents)
and they must meet historical criteria (they must accurately
represent the Holocaust, lest they be merely artworks). I locate
this problematic within the tradition of philosophical aesthetics,
as a version of the conflict between aesthetic autonomy and
aesthetic heteronomy, and claim that Theodor W. Adorno's "dialectic
of aesthetic semblance" describes the normative demand that a
successful artwork maintain a dynamic tension between these dual
desiderata. While working within a framework inspired by Adorno,
the book further claims that certain concepts and lines of
reasoning from contemporary philosophy best explicate how
individual artworks fulfill these dual desiderata, including the
causal theory of names, the philosophy of tacit knowledge, analytic
philosophy of quotation, Sartre's theory of the imaginary, work in
the epistemology of testimony, and Walter Benjamin's theory of
dialectical images. Individual chapters provide close readings of
lyric poetry by Paul Celan (including a critique of Derridean
deconstruction), Holocaust memorials in Berlin, texts by the
Austrian quotational artist Heimrad Backer, Claude Lanzmann's film
Shoah and Art Spiegelman's graphic novel Maus. The result is a set
of interpretations of Holocaust artworks that, in their precision,
specificity and clarity, inaugurate a dialogue between contemporary
analytic philosophy and contemporary art.
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