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The Aesthetic Dimension: Toward a Critique of Marxist by Herbert Marcuse

By Herbert Marcuse

Constructing an idea in short brought in Counterrevolution and Revolt, Marcuse the following addresses the shortcomings of Marxist aesthetic idea and explores a dialectical aesthetic during which artwork services because the moral sense of society. Marcuse argues that artwork is the one shape or expression which could absorb the place faith and philosophy fail and contends that aesthetics deals the final safe haven for two-dimensional feedback in a one-dimensional society.

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Extra resources for The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics

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Again, if he is made to choose between two things of the same kind which are both beautiful (˙asanayn), but of which one is more beautiful than the other (a˙san), he will often choose the more beautiful object, even though the other is (also) beautiful, provided that he has (reached) awareness. Now the child’s preference for the beautiful over the ugly thing can only be made by comparing one with the other. His perception of the beauty of that which is beautiful and the ugliness of the ugly, and his preference for the beautiful over the ugly, and, again, his choice of the more beautiful (al-zå’id al-˙usn) rather than that which is less so (if he makes such a choice) can only take place after he has compared the two with one another and perceived the form of each and the excess in beauty of the more beautiful over the less beautiful.

Relative to this peculiar signifying system, the semantic configuration of the Qur’anic passage stands out in the following terms: At the literal level, by showing the queen making a mistaken gesture in front of the king who corrects her behaviour, the story basically draws upon a Manichaean narrative scheme: one protagonist is wrong, the other right; one knows, the other is in some way ignorant. This scheme generates a second at the hidden level or conveys it symbolically according to the metaphorical principle, namely a scheme of positive and negative religious values that sets the believer in opposition to the unbeliever; the divine wisdom given to prophets as opposed to mere human powers; victorious Islam to paganism and any form of unbelief.

This scheme generates a second at the hidden level or conveys it symbolically according to the metaphorical principle, namely a scheme of positive and negative religious values that sets the believer in opposition to the unbeliever; the divine wisdom given to prophets as opposed to mere human powers; victorious Islam to paganism and any form of unbelief. This is the semiotic structure of the verse, its logical foundation. From this structure flow a complex stream of literal as well as induced cognitions.

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