Religion, metaphysics and morality, as ‘forms of consciousness’ have long ago been stripped of their ‘semblance of independence’. As to Art, some would argue we see
in art the distorted reflection of social relations past, present and emerging..
in which the deliberate creations of the artist passively transmit unsuspected historical meaning.
If one wants to take a Marxist perspective this would relate to the basic passivity of the artist, as a sort of crossroads of historical traffic.
So in a middlebrow survey like Arnold Hauser’s Social History of Art (1951), Balzac could appear, in spite of his titanic energies and avowed royalism, as a cat’s-paw of historical progress, ‘a revolutionary writer without wanting to be’, whose ‘real sympathies make him an ally of rebels and nihilists’.
This sort of thinking does not just apply to politics, psychiatry and art, but also to falling in love, marriage and other sacrosanct rites of passage. No one comes to these states ie falling in love and choosing a partner unencumbered, we arrive at these decisions heavily baggage.
in art the distorted reflection of social relations past, present and emerging..
in which the deliberate creations of the artist passively transmit unsuspected historical meaning.
If one wants to take a Marxist perspective this would relate to the basic passivity of the artist, as a sort of crossroads of historical traffic.
So in a middlebrow survey like Arnold Hauser’s Social History of Art (1951), Balzac could appear, in spite of his titanic energies and avowed royalism, as a cat’s-paw of historical progress, ‘a revolutionary writer without wanting to be’, whose ‘real sympathies make him an ally of rebels and nihilists’.
This sort of thinking does not just apply to politics, psychiatry and art, but also to falling in love, marriage and other sacrosanct rites of passage. No one comes to these states ie falling in love and choosing a partner unencumbered, we arrive at these decisions heavily baggage.
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