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1	High-Low Art Distinction & Class: A Critique of Marxist Aesthetics Donald J Perry (6617549) 10 June 2019 (has links) The concept of high and low art have a very close relation to social class. There is a prevailing notion within developed countries that certain forms of art are more legitimate and deserving of respect than others due to their association with the upper class. This social aspect of art leads to the question of how art is used in society and whether it should be used in that way. Marxists’ deep interest in class have made their perspective particularly prominent concerning debate on the subject. Having such a deep interest in class, it is expected they have their own opinions on the role of class in art’s usage. Despite their immense influence on the subject, I find the Marxist perspective concerning class and art lacking. In this work, I will attempt to critique the Marxist position on the relation of art and class and attempt to provide a unique perspective on this subject. I will be examining art and class in terms of two questions. First, what is the relationship between class and art and how is art used by social classes? Second, what should the relationship between art and class be and how should art be treated in society? I will first examine the Marxist position through Theodor Adorno and Hebert Marcuse, present Bourdieu’s sociological findings on the subject, and present thinkers outside of the Marxist position while building my position in contrast to these thinkers.<br> Aesthetics Aesthetics Marxism high art low art Socioeconomic Status class philosophy sociology Frankfurt School Feminist theory conservatism pornography
2	Adorno on Music and Politics Mariasin, Dalia January 2020 (has links) This study aims to discern and assess Theodor Adorno’s theories on music as an ‘art’ and how it impacts both the political and social landscape of society; more broadly, the purposes of this paper is to identify, and determine the significance of, the relationship between music and politics – that is, whether or not, and how, music can emancipate society from capitalist enslavement. In juxtaposing Adorno’s theories, the opinions of Herbert Marcuse will be discussed as well. As both theorists are considered integral to the creation and development of critical theory of the Frankfurt School, it is only logical to examine their theories and ideologies in detail to determine the role of music as an ‘art’ in the overarching scheme of political scaffolding within which society resides. / Thesis / Master of Arts (MA) Adorno Marcuse art music culture industry modernity Mahler capitalism Schoenberg jazz music emancipation false consciousness bourgeoisie class mass deception false needs 'dark' art mass enslavement class conflict 'autonomous' art pop music swing bands 12-tone scale 'extremes' 'high' art 'low' art modernism mass consciousness propaganda conformity anti-conformity culture liberation commercialization commodification 'commodity fetish' fetish of music technique tonality atonality 'art for art's sake' critical reflection status quo

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High-Low Art Distinction & Class: A Critique of Marxist Aesthetics

Adorno on Music and Politics