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Abstract

In his article "Intermediality and Aesthetic Theory in Shklovsky's and Adorno's Thought" Oleg Gelikman places the concept of intermediality in the context of the unresolved conflict between philosophical aesthetics and aesthetic theory. The conflict originated in the response of an influential generation of thinkers to the crisis of the neo-Kantian schools and the emergence of modernism in the 1910s. Despite superficial similarities, aesthetic theory is neither a revamped aesthetics of the subject nor a theoretical vindication of modernism. By severing the connection between subject-object epistemology and theory of artworks, the practitioners of aesthetic theory such as Victor Shklovsky and Theodor W. Adorno transformed metaphysical aesthetics into a critical historiography of cultural production. Gelikman argues that, while incomplete, aesthetic theory can nonetheless be effective in analyzing the function of intermediality in the environment dominated by the resurgence of naturalistic and epistemological interpretation of the aesthetic.

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