Aesthetics and Politics by Theodor Adorno, Walter Benjamin, Ernst Bloch, Bertolt PDF

By Theodor Adorno, Walter Benjamin, Ernst Bloch, Bertolt Brecht, Georg Lukacs

Offered listed here are they texts of the Marxist controversies over literature and paintings that concerned Ernst Bloch, Georg Lukacs, Bertolt Brecht, Walter Benjamin and Theodor Adomo.

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Others don't - absurdly enough, because they are very short. The whole work doesn't fit into it at all. I consider it to be a realistic play. I learnt more for it from the paintings of the peasant Breughel than from treatises on realism. I scarcely dare to speak about the second novel, on which I have been working for a long time, so complicated are the problems involved and so primitive is the vocabulary which the aesthetic of realism - in its and drama. ov.. of colours at the back of my mind, impressions of particular " of the year; I hear inflections without words, see gestures with­ meaning, think of desirable groupings of unnamed figures, and so on.

Loose talk is of no help here, whatever ' ·· vocabulary. In no circumstances can the necessary guide-lin es practical definition of realism be derived from literary works alone. like Tolstoy - but without his weaknesses! ) Realism is an issue not only for literature: it is a major polliti,:al philosophical and practical issue and must be handled and explained such - as a matter of general human interest. III [Remarks on an Essay] One must not expect too much from people who use the word too fluently as signifying something other than content, or as cOl"n" ct,od with content, whatever, or who are suspicious of'technique' as sornethi,tg 'mechanical', One must not pay too much attention to the fact that quote the classics (of Marxism) and that the word 'form' occurs too; the classics did not teach the technique of writing novels.

It is not linked to the good ' old days but to the bad new ones. It does not involve undoing techniques but developing them. Man does not become man again by stepping out of the masses but by stepping back into them. The masses shed their dehumanization and thereby men become men again - but not the same men as before. This is the path that literature must take in outrage when the masses are beginning to attract to themselves everything that is valuable and human, when they are mobilizing people against the dehumanization produced by capitalism in its fascist phase.

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