For the romantic and postromantic traditions of poetics in which Benjamin and Adorno participate, modern lyric ambition stands as a, or even the, high-risk enterprise, the "go-for-broke-game" [ "va-banque-Spiel"], of literary art: The lyric poem must work coherently in and with the mediumlanguagethat human beings use to articulate objective concepts, even while the lyric explores the most subjective, nonconceptual, and ephemeral phenomena. ❋ Unknown (2003)
It may be ironic that some recent defenses of apparent difficulty in academic writing have turned for support to Frankfurt School texts, because Frankfurt briefs for the necessary difficulties in postromantic and modernist art, and in critical theory, actually tend to apply or extend all those initial Kantian-romantic concerns about truth, objectivity, and universality in ways largely inimical to most Left postmodernist discourse. ❋ Unknown (2003)
It amply justifies my contention that for Stravinsky in the Twenties, the word "modernism" had become "a code for that specifically postromantic legacy of revolution and chaos exemplified in politics by the Bolsheviks, and in music by the expressionistic atonal works of Schoenberg." ❋ Taruskin, Richard F. (1989)
Of the Mahler, he said, I think that one of my strengths is this postromantic German repertoire - which is one of the strengths of the orchestra. . . ❋ Unknown (2010)
"bourgeois-aestheticist" character of romantic and postromantic subjectivity, and, on the other hand, the practice of an exploratory poetics for which experiment is virtually synonymous with the stretching ❋ Unknown (2003)
For the Frankfurt School critics, romantic and postromantic lyric dramatizes with special intensity modern aesthetic quasiconceptuality’s more general attempt to stretch conceptual thought proper; this special intensity arises from lyric’s constitutive need musically to stretch "objective" conceptual thought’s very medium, language — to stretch it quasiconceptually all the way towards affect and song, but without relinquishing any of the rigor of conceptual intellection. [ ❋ Unknown (2003)
The much-vaunted Frankfurt preference for modernist artworks of great complexity is the preference for a Baudelairean art still intent on risking experimental enactments of romantic aura together with mimetic reflections on postromantic modernity’s most anti-auratic, advanced technical-productive developments. ❋ Unknown (2003)
And as far as Benjamin and Adorno are concerned, a crucial chapter in this modern aesthetic-social history involves Charles Baudelaire’s barely postromantic lyric poetry, where romantic lyric’s presumed condition of possibilitythe availability of an auratic, reflective experience that in its turn makes possible a noninstrumental, potentially emancipatory capacity for constructing new conceptual-objective knowledgeseems to have disappeared. ❋ Unknown (2003)