Drawing on Whitman and Adorno, Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference society constructs as its racialized, gendered, Semitic, and sexualized other.
Drawing on Whitman and Adorno, Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference society constructs as its racialized, gendered, Semitic, and sexualized other.
Acknowledgments ix Introduction: Past as Prologue 1 Part I. The Reconciliation Image in Whitman 1. Democratic Vistas: Democratic Enlightenment and Reconciliation 47 2. Whitman's Discovery: Aesthetic Education through the Visual Image 79 First Bridge. Thinking with Adorno against Adorno 119 Part II. The Reconciliation Image in Adorno 3. Aesthetic Reason and Reflexivity, Twin Economies and Democratic Effects 145 4. Aesthetic Analogues: Art and Film 166 Second Bridge: The Reconciliation Image versus the Narrative Structure of Film 199 Part III. The Reconciliation Image in Film 5. The Help: Entangled in a Becoming 231 6. Gentlemen's Agreement: Beyond Tolerance 249 7. The Reconciliation Image in Film as Universal Art Form 273 Notes 281 Bibliography 301 Index 309
Acknowledgments ix Introduction: Past as Prologue 1 Part I. The Reconciliation Image in Whitman 1. Democratic Vistas: Democratic Enlightenment and Reconciliation 47 2. Whitman's Discovery: Aesthetic Education through the Visual Image 79 First Bridge. Thinking with Adorno against Adorno 119 Part II. The Reconciliation Image in Adorno 3. Aesthetic Reason and Reflexivity, Twin Economies and Democratic Effects 145 4. Aesthetic Analogues: Art and Film 166 Second Bridge: The Reconciliation Image versus the Narrative Structure of Film 199 Part III. The Reconciliation Image in Film 5. The Help: Entangled in a Becoming 231 6. Gentlemen's Agreement: Beyond Tolerance 249 7. The Reconciliation Image in Film as Universal Art Form 273 Notes 281 Bibliography 301 Index 309
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