Adorno’s “dialectic of aesthetic semblance” describes the normative demand that a successful artwork maintain a dynamic tension between these dual desiderata. 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. 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yet potentially reciprocally countervailing desiderata: they must meet aesthetic criteria (lest they be, say, merely historical documents) and they must meet historical criteria (they must accurately represent the Holocaust, lest they be merely artworks). 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 Sense of Semblance is the first book to incorporate contemporary analytic philosophy in interpretations of art and architecture, literature, and film about the Holocaust.
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