Tuesday, February 04, 2014
Gillian Rose, Hegel Contra Sociology, my italics:

"[The] 'symbolic' form of art provides the case for 'romantic irony.'  It is 'romantic' because it acknowledges the history of art as representation and the subsequent pseudo-integrity of meaning and configuration.  It is 'ironic' because its aims are substantial not subjective.  It seeks to draw attention to substance by playing with the conventions of representation in order to undermine them, to reveal the real divorce between meaning and configuration.  The result is a form of art which is not pleasing, not ideal, but which is severe in the attempt to rebel against dominant assimilation.  This is the kind of argument which was taken up again in the twentieth century debates over expressionism and post-expressionism.  Thomas Mann, for example, called his use of irony 'the severe style.'"

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