To my fer and ster The Fate of Art and memory of my mother ae Aesthetic Alienation from Kant to Derrida and Adorno Literature and Philosophy J. M. Bernstein A. J Caseard, Geral Editor ‘Thisnew seieswll publish booksina wide range of subjects in philosophy and necatre, inching tudes of the seal Sd tora ius that eae these eo Hide, Drawing fon the resources ofthe Anglo-American and Continental traditions, the series wil be open to pilosophially Informed scholarship covering the entite range of cote ‘emporar tial hough ‘The Pennsylvania State University Press University Park, PennsylvaniaCopyighe © JM. Bere 1992 cs pied 1992 in th ied Sts by The Penne Sate Unsesty ress Se C, 820 Now Unversy Dre, Unversity Park, PA T6802 Alig eseved IsBN0-271-00838-5 ot) ISHND=271=00839-3 (pope) Lary of Cong Cataloging i abt Dts [NCP calor ths bk aval fom the abeary of Cong Init pc of The Pema Sate Univeriy Pret tose acid re ape foe ‘hex ping al ecu ook. Pabeatons on noted sok ati) ‘heminmum eqeremensaf Amercan National andar fo Toran SEE mance of Paper for Pritt sens, ANSI 299481988 “Typeset in 1014 on 12 pt Eade by Grapher Typeset, Hong Kone Pred Gree Beran by TJ res, Pade Contents Acknowledgements List of Abbreviations Inredoction: Aesthetic Alienation Memorial Aesthetics: Ken's Qrtique of Judgement 1 Judgement without Knowledge Imperative Beno? {ii The Antnomy of Autonomous Aesthetics a Freeand Dependent Beaty 'b ree Beauty and the Hea f Beaty €. The Beautiful and the Sublime lv "The Question of Reflective Jodgement Beauty andthe Labour of Mourning ‘Mi Indetrminacy and Metaphysics (Anticipating Deconstruction) ‘The Genius of Being: Heidegger's “The Origin ofthe Work of At 1 Inoduetion: Imagination and Finitude i Orereaming Aesthetic (0): Thing, Historcty and Double Reading ‘i Overcoming Aesthetics (II) Great Art |v Great Artand Genius! On Being Exemplary 0 a B 2 3 3s 5 « % 2 ®Govtents Geni, Commit and Pras Mi Amand Technology vi Earth, World and Alterity: The Pols a Act Vii Acrheic Alienation 3, The Deonstutve Subline: Derias The Tah Paitin iar History and Langage 4 Ping mht Truth ii Theres Paining iv Imeruping Metaphysics {Framing she Without End of Pure Bey 1 Framing the Sobline i Sabyor Tragic? 4 Conlin Concept and nition: Adora’ Ac n °F” ncincibng Acetic: Modena, tonomy and Synhee Spates, tsion and None i Without Parone it An, Tehnalogy and Nature 5, Ol Gate Ascending: Distrito nd Speculation in een They 1 Raneation, Dienst and Categories 4 Disimegraion, Sate and Truth 4 Trathor Communion? Trak ad Speculation Spline and Pts Notes Indes 108 16 10 136 136 0 18 155, 19 166 05 188 190 m7 206 22 as ns 233 m1 2B 261 us 289 Acknowledgements ‘This work would not hae taken its present shape hid it not been for the intense and congenial atmosphere T have enjoyed in the Philosophy Department ofthe Univesity of Esex over the past dozen years, In par ticular, T must thank Robert Bernasconi; his enthusiasm for Heidegger pt me reading him, and twas he who Bet expsned to me Heidegger’ history of being. During the decade me were colepucs, we shared out frst reading of Derrida with exch ether, and lot more Wiile T have learned mach from several research students in the Department, I must mention Nick Land; Michael Newman, who helped ‘me to understand Van Gogh and modern ars Olivier Serafnowie, and Ian Willamson, whose effors in helping me translate pasages from Adorno’s Aethtie Theory will bea bonus for all readers Of ths tex. Tf ‘there iced here, it must be hiss mine the blame ‘Three friends read the manuscript asa whole and offered advice, rit= ‘dam and support. Noone wil ead this work a areflly and thougheflly a6 Robert Pippin did. His pages of ets and argument shaped the Adretion of my rewriting. Howard Caygll knew jst what [wa trying to do and told me how to do it beer. He and Gillan Rose gave me Brighton during the summer of 1988 where the Birt draft of chapter 4 was writen There sao one to whom [am closer intlletaly and silly than Gillan Rose; what i het in thi work would not have ben there without her. For the rest alone am responsible ‘My editor at Paiy Pres, John Thompson, kept ith and though his ‘tutions made me produce a more generally accessible text Portions of this Work have been published previously as “Aesthetic