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- W2485813457 abstract "In his important study of modern drama, Peter Szondi investigates the relationship between socio-historical reality and modern drama by focussing on various manifestations of drama’s form–content dialectic. Drawing on the work of the early Lukacs, Benjamin’s Trauerspiel study and Adorno’s Philosophy of Modern Music, Szondi argues that the forms of modern drama (its ‘technical contradictions’) are indicative of socio-historical conditions (Theory of the Modern Drama 5). In other words, Szondi turns aesthetic formal principles into socio-historical categories by adhering largely to what Jochen Schulte-Sasse calls a ‘mimetic concept of art’ (‘Foreword’, Theory of the Modern Drama xiv) — a conception of art as a reflection of objective reality. But by subscribing to a concept of mimesis Szondi nevertheless opposed normative theories of aesthetic realism such as developed by the Hungarian Marxist Georg Lukacs for example. Lukacs’s socialist-materialist aesthetic theory applies a prior set of interpretive criteria pertaining to the ‘laws governing objective reality’ to the meaning of a text, and for him only realist, mimetic art is able to adequately represent the ‘objective essence of reality’ (Lukacs in Adorno et al., Aesthetics and Politics 38, 40). But this method of judging an art-work’s meaning in relation to empirical reality from the outside — from the perspective of an already formed interpretation of social-historical conditions — is renounced by Szondi who, like Adorno, derives an art-work’s socio-historical meaning from immanent form analysis." @default.
- W2485813457 created "2016-08-23" @default.
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- W2485813457 date "2015-01-01" @default.
- W2485813457 modified "2023-09-25" @default.
- W2485813457 title "Sarah Kane or how to ‘scrape a life out of the ruins’" @default.
- W2485813457 doi "https://doi.org/10.1057/9781137534477_6" @default.
- W2485813457 hasPublicationYear "2015" @default.
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