The Aesthetic Taboo: Aura, Magic, and the Primitive

David Lloyd
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Abstract

“The Aesthetic Taboo” concerns the place of primitive anthropology in the aesthetic theory of Walter Benjamin and Theodor Adorno. It traces the influence of Freud’s Totem and Taboo through their work, in the concepts myth, magic, and aura. Neither thinker ever manages to escape the historical narrative of aesthetics: the transition from a state of necessity that defines the Savage as pathological subject, through a state of domination to an ideal state of freedom. Adorno and Benjamin continue to think within the traditions of Kant and Schiller. Yet in Aesthetic Theory magic images the sensuous remnant in the artwork that withstands rationalization. This “pathological” moment restores to the aesthetic its foundations in pleasure and pain and demands the destruction of the racial regime of representation. Its analogy with the Subaltern suggests another conception of life in common, predicated on the pains and pleasures of the pathological subject.
美学禁忌:光环、魔法和原始
《审美禁忌》探讨了原始人类学在本雅明和阿多诺美学理论中的地位。它追溯了弗洛伊德的图腾和禁忌的影响,通过他们的工作,在概念神话,魔法和光环。这两位思想家都未能逃脱美学的历史叙事:从一种将野蛮人定义为病态主体的必然性状态,通过一种统治状态过渡到一种理想的自由状态。阿多诺和本雅明继续按照康德和席勒的传统进行思考。然而,在美学理论中,魔术形象是艺术作品中经得起理性化的感官残余。这个“病态的”时刻恢复了美学在快乐和痛苦中的基础,并要求摧毁代表的种族制度。它与次等人的类比暗示了另一种共同的生命概念,以病理主体的痛苦和快乐为基础。
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