By Herbert Marcuse
The position of artwork in Marcuse’s paintings has usually been ignored, misinterpreted or underplayed. His critics accused him of a faith of artwork and aesthetics that ends up in an get away from politics and society. but, as this quantity demonstrates, Marcuse analyzes tradition and paintings within the context of the way it produces forces of domination and resistance in society, and his writings on tradition and paintings generate the potential of liberation and radical social transformation.
The fabric during this quantity is a wealthy number of lots of Marcuse’s released and unpublished writings, interviews and talks, together with ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem by way of Samuel Beckett for Marcuse’s 80th birthday with trade of letters; and plenty of articles that discover the function of artwork in society and the way it presents percentages for liberation.
This quantity might be of curiosity to these new to Marcuse, mostly said as a massive determine within the highbrow and social milieus of the Nineteen Sixties and Seventies, in addition to to the expert, giving entry to a wealth of fabric from the Marcuse Archive in Frankfurt and his inner most assortment in San Diego, a few of it released right here in English for the 1st time.
A entire advent through Douglas Kellner displays at the genesis, improvement, and tensions inside Marcuse’s aesthetic, whereas an afterword by means of Gerhard Schweppenhäuser summarizes their relevance for the modern period.
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Additional resources for Art and Liberation (Collected Papers of Herbert Marcuse, Volume 4)
42 Introduction In the mid-1970s, Marcuse continues to develop ideas of the potentially transformative role of culture and art in producing a better society. A 1967 essay “Art in the One-Dimensional Society,” collected in this volume (pp. ) was ﬁrst presented as a lecture at the New York School of Visual Arts, March 8, 1967. In the text, Marcuse opens with an uncharacteristic personal confession, noting: I would like to say a few words about how I came to feel the need for occupying myself with the phenomenon of art .
Gerald Holton (Boston: Houghton Mifﬂin, 1965), pp. 218–35; I am citing from the latter publication. ” 42 Introduction In the mid-1970s, Marcuse continues to develop ideas of the potentially transformative role of culture and art in producing a better society. A 1967 essay “Art in the One-Dimensional Society,” collected in this volume (pp. ) was ﬁrst presented as a lecture at the New York School of Visual Arts, March 8, 1967. In the text, Marcuse opens with an uncharacteristic personal confession, noting: I would like to say a few words about how I came to feel the need for occupying myself with the phenomenon of art .
49 See Herbert Marcuse, Eros and Civilization (Boston: Beacon Press, 1955; second edition 1974; I will cite from this edition). For my detailed reading of Eros and Civilization, see Kellner, Herbert Marcuse, Chapter 6. In Volume Five of Collected Papers of Herbert Marcuse: Philosophy, Psychoanalysis and Emancipation, we will engage systematically Marcuse’s adventures with Freud and psychoanalysis. 32 Introduction during an era dominated by McCarthyism and Stalinism, and with his wife Sophie dying of cancer, Marcuse summoned his radical imagination to develop utopian perspectives on liberation and to sketch the possibility of a nonrepressive civilization, drawing on the resources of his emerging aesthetic theory.
Art and Liberation (Collected Papers of Herbert Marcuse, Volume 4) by Herbert Marcuse