Aesthetics and Politics: Debates Between Bloch, Lukacs, Brecht, Benjamin, Adorno
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An analysis of the relations between art and socialism unfolding in German culture between the 30's through the 50's.
87 Crime and Punishment (Dostoyevsky), 93 Cubism, 25 Cuvier, Georges, 55 and n The Cultivation ofthe Millet (Brecht), 148n Dadaism, 126, 183 Dante, 94 Daumer, C. F., 155-6, 156n Delauney, Robert, 45n De Man, Paul, 198n Derain, Andre, 124n The Destruction ofReason (Lukacs), 152 Dickens, Charles, 36, 163 Dilthey, Wilhelm, 105 Dimitrov, Georgi, 28 Dix, Otto, 18, 26 Dablin, Alfred, 12, 58 and n, 59, 69 Don Carlos (Schiller), 54 Don Quixote (Cervantes), 28, 47 Dos Passos, John, 69n, 77 Dostigayev
permeate more and more aspects of the Soviet economy, and as the cultural revolution gained wider and wider acceptance among the masses of the workers, so the art of the 'avant-garde' in the Soviet Union found itself gradually but inexorably forced back on to the defensive by an increasingly confident school of realism. So in the last analysis the defeat of Expressionism was a product of the maturity of the revolutionary masses. The careers of Soviet poets like Mayakovsky, or of Germans such
E e:t�ve the most significant works, was stamped with i . I remarked that Im Brecht. out. came It when received badly had been very � �: � � !f � � Affinities pleased to hear it. - The Germans are a lousy nation rein &hezssvolk]. Itler about It isn't true that one must not draw conclusi�ns from bad. The IS German IS that g everythin too, me, In Germans in general. ence. mdepend mded narrow-m our is Germans uS intolerable thing about � g. N where else were there Imperial Free Cities,
98 just for his d�sk drawer, any more Shakespeare couldn't have written ters before hIS �yes. The people he than I can. Besides, he had his charac their . He Just observ depicted were running around in the streets as Just , others many were there ; behaviour and picked out a few traits the dead.' � 3 August. On 29 July in the evening, while we were in the garden, conversation came round to the question whether a part of the Gh,l/dren', Songs cycle should be included in the new volume of
is no material content, no formal category of artistic. creation, however mysteriously transmitted and itself unaware of the process, which did not originate in the empirical reality from which it breaks free. It is this which constitutes the true relation of art to reality, whose elements are regrouped by its formal laws. Even the avant-garde abstrac tion which provokes the indignation of philisti'nes, and which has nothing in common with conceptual or logical abstraction, is a reflex response