By Marx, Karl; Marcuse, Herbert; Marx, Karl; Sherover, Erica
Constructing an idea in brief brought in Counterrevolution and Revolt, Marcuse the following addresses the shortcomings of Marxist aesthetic thought and explores a dialectical aesthetic within which paintings services because the sense of right and wrong of society. Marcuse argues that artwork is the single shape or expression that could soak up the place faith and philosophy fail and contends that aesthetics deals the final safe haven for two-dimensional feedback in a one-dimensional society.
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Extra resources for The aesthetic dimension : toward a critique of Marxist aesthetics
Sample text
While they do so in damaged and broken forms, they nevertheless indicate the qualitative difference from previous periods. This qualitative difference appears today in the protest against the definition of life as labor, in the struggle against the entire capitalist and state-socialist organization of work (the assembly line, Taylor system, hierarchy), in the struggle to end patriarchy, to reconstruct the destroyed life environment, and to develop and nurture a new morality and a new sensibility.
Furthermore, I argue that by virtue of its aesthetic form, art is largely autonomous vis à vis the given social relations. In its autonomy art both protests these relations, and at the same time transcends them. Thereby art subverts the dominant consciousness, the ordinary experience. Some preliminary remarks: although this essay speaks of “art” in general, my discussion is essentially focused on literature, primarily the literature of the eighteenth and nineteenth centuries. I do not feel qualified to talk about music and the visual arts, though I believe that what holds true for literature, mutatis mutandis, may also apply to these arts.
If “the people” are dominated by the prevailing system of needs then only the rupture with this system can make “the people” an ally against barbarism. Prior to this rupture there is no “place among the people” which the writer can simply take up and which awaits him. Writers must rather first create this place, and this is a process which may require them to stand against the people, which may prevent them from speaking their language. In this sense “elitism” today may well have a radical content.