![]() ![]() And, in Leavis' view, this reflection was salutary - in giving much needed expression to these pathologies of modern life - and yet also deeply damaging to the public role of art. But, more than this, in Leavis' view modernism was also a reflection of the fragmentation of contemporary culture. For purely aesthetic reasons, modernism - or something like it - seemed to be necessary. ![]() ![]() Eliot, Ezra Pound and Gerard Manley Hopkins - as representing a needed break with nineteenth century artistic tradition. Leavis, in 1932's New Bearings in English Poetry, recognized modernism - in particular that of the poets T.S. From the young Adorno's study with Alban Berg, to his critical reception of Jazz published in 1936 under the pseudonym 'Hekt or Rottweiler', through to the scorn he poured on Stravinsky in Philosophy of the New Music in 1947, and finally in the culiminating posthumous work Aesthetic Theory itself, Adorno was a passionate, yet in many and important ways non-dogmatic, advocate of the power and necessity of artistic modernism.į. Though incomplete, it nonetheless represented a culmination of a life-time's engagement with modernism. Adorno's Aesthetic Theory was published posthumously in 1969. ![]()
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