scholarly journals Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy

October ◽  
2017 ◽  
Vol 160 ◽  
pp. 30-50
Author(s):  
Steven Jacobs ◽  
Hilde D'haeyere
Keyword(s):  
Walter Benjamin ◽  
Frankfurt School ◽  
Everyday Objects ◽  
Siegfried Kracauer ◽  
Art Form ◽  
Mass Entertainment ◽  
The Way

Scrutinizing the writings by Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno and connecting them to specific comedy scenes and tropes, this essay explores the fascination for American slapstick comedies and comedians by the philosophers of the Frankfurt School. Although often critical of mass entertainment, Benjamin, Kracauer, and Adorno admired the way slapstick film elevated motion and speed to an art form that answered to the rhythms and dangers of an industrialized society. For these writers, slapstick's crude and anarchic humor and anthropomorphizing of everyday objects offered a means of resistance against the forces of modernization through ludic encounters.

Lyric Cousins

2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Art Music ◽  
Sensory Experience ◽  
Early History ◽  
Sight Reading ◽  
Public Performance ◽  
Art Form ◽  
The Way

Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, ‘difficult’, and therefore ‘elitist’. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word ‘lyric’? These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading, and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects, and capacities.

scholarly journals Law and aesthetics: critical note

2010 ◽  
Vol 6 (2) ◽  
pp. 631-640 ◽  
Author(s):  
Luis Satie
Keyword(s):  
Legal Philosophy ◽  
Philosophy Of Law ◽  
Legal Form ◽  
Critical Note ◽  
Art Form ◽  
Conservative Approximation ◽  
Conditions Of Possibility ◽  
The Relationship ◽  
The Way

It is thought in the theory and philosophy of law, aimed at discussing the conditions of possibility of rapprochement between the art form and legal form. The text investigates, dialectically, the implications for the legal philosophy of the impossibility of such approximation, and the problems in a conservative approximation. It follows that: 1) would be a loss for a reason and therefore to legal philosophy, not to communicate between art and law; 2) the relationship between legal and aesthetic standards should be guided by the critical, especially in terms of Adorno's thought. It is by overcoming the dichotomy between possibility and impossibility, opening on the idea of constellation of methodological categorical fields of law and aesthetics in their current forms, paving the way for understanding the legal form as a tragic way.

scholarly journals Ideologia alemã: a produção do mito na teórica do fascismo em W. Benjamin e S. Kracauer

Kalagatos ◽  
2017 ◽  
Vol 13 (27) ◽  
pp. 3-10
Author(s):  
Robson Breno Dourado de Araujo
Keyword(s):  
Walter Benjamin ◽  
Siegfried Kracauer

Este texto discute a constituição ideológica da intelectualidade alemã no período pós Primeira-Guerra tal como exposto por Walter Benjamin e Siegfried Kracauer. Inicialmente, apresentamos o mote formal da produção literária de Ernst Jünger e do Círculo Tat, analisados pelos autores, respectivamente, e as condições de emergência da “superestrutura das relações materiais” como posicionamento político capaz de fundar o mito da germanidade que alicerça o novo nacionalismo de então. Desta feita, tematiza-se o modo como tal produção intelectual gerencia a ideia do herói de guerra e do Estado-Povo pervertendo a experiência da guerra de trincheira sobrepondo-lhe uma miragem. 

scholarly journals Beyond Historical Tragedy: The Frankfurt School and Judeo-Christian Messianism

2008 ◽  
Author(s):  
Colin J Campbell
Keyword(s):  
Critical Theory ◽  
Frankfurt School ◽  
Christian Perspective ◽  
The Way

In "Beyond Historical Tragedy" the author compares and discusses Hegel's prescient understanding of the meaning of tragedy and how it differs from Aristotelian or quasi-Aristotelian theories. At the same time, he embarks on a critique of George Steiner's Hegelian reading of Sophocles' Antigone, and of tragedy more generally. He develops the idea that the Critical Theory of the Frankfurt School is closer to a Jewish or Christian perspective than to the tragic perspective - or to Hegel's modern version of the tragic perspective. The contrast is most clear in the way that the idea of fate is negated by Adorno, Horkheimer, Marcuse and Benjamin.

The Sentimental Chaplin: Comedy and Classical Narrative

2017 ◽  
Author(s):  
Charles Burnetts
Keyword(s):  
Stanley Cavell ◽  
American Writer ◽  
Narrative Structures ◽  
Siegfried Kracauer ◽  
Classical Hollywood ◽  
The Way ◽  
Film Comedy

Chapter Three focuses on the critical functions of comedy in relation to sentimental narrative structures in the early and classical Hollywood eras, focusing on how humour is both celebrated and critiqued in terms of its counter-balancing, compensation for, or even negation of the sentimental in film. Charles Chaplin’s early work is analysed with reference to the critical opposition to his features on the part of intellectuals wedded to a more ‘naturalistic’ cinema or to Chaplin’s more ‘anarchic’ deployment of slapstick, such as the American writer Gilbert Seldes and the early work of Siegfried Kracauer. The discussion turns to the classical genres of Hollywood’s 1930s and 1940s period, using sequences from John Ford’s Stagecoach (1939) as an exemplary negotiation of sentiment and slapstick. Focus is maintained on the way that such categories are influenced by sentimental codes, particularly in terms of the persistence of genteel sensibilities and/or moralistic narrative structures. The chapter draws in such respects on key theorists of film comedy of that era, such as Stanley Cavell, Henry Jenkins and Lea Jacobs.

Physics as an Art Form

2018 ◽  
pp. 1-4
Author(s):  
Alvaro De Rújula
Keyword(s):  
General Relativity ◽  
Laws Of Nature ◽  
Space Time ◽  
Einstein’S Equations ◽  
Einstein's Equations ◽  
Ockham’S Razor ◽  
Art Form ◽  
Ockham's Razor ◽  
The Universe ◽  
The Way

Beauty and simplicity, a scientist’s view. A first encounter with Einstein’s equations of General Relativity, space-time, and Gravity. Ockham’s Razor. Why the Universe is the way it is: The origin of the laws of Nature.

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