COMPARATIVE LITERATURE STUDIES than his predecessor's (8). As one might anticipate, Terada is interested in Adorno's well-known account of the artwork as a self-negating dynamic that allows for a glimpse of alternatives to the dominant ideological and epistemological orders; but she stresses that Adorno's valorization of this particular work of the negative has to be contrasted with the suspensive, private experiences of the phenomenophile. Grounded in the authority of form, Adorno's artwork remains a social construction even as it turns the authority of the social against itself. Consequently, while Adorno is to be celebrated for offering justifications for impossible desires, he may in the final analysis be extending the less radical efforts of his forerunners to represent the givenness of the world realistically. This closing point typifies the great subtlety with which Looking Away demonstrates its fidelity to the authors it explores by resisting their authority at crucial junctures. Rather than inviting us to line up for or against Kant, Hegel, or Nietzsche, Terada shows us how to use their arguments to begin a genuinely new conversation about ethics and politics. With any luck, many will follow her lead. Jan Mieszkowski Reed College Blake and Kierkegaard: Creation and
Comparative Literature Studies – Penn State University Press
Published: Aug 17, 2012
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