Der Wahrheitsgehalt der Kunst und Kulturindustrie bei Theodor W. Adorno
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Studienarbeit aus dem Jahr 2019 im Fachbereich Philosophie - Philosophie des 20. Jahrhunderts, Note: 1,3, Universit t Leipzig, Sprache: Deutsch, Abstract: Ziel dieser Hausarbeit ist es, die Frage zu beantworten, wie sich die Theorie der Kulturindustrie und Adornos sthetische Aussagen zueinander verhalten. Das hei t konkret, zu fragen, wie sich das Verh ltnis von objektivem Wahrheitsgehalt der Kunst mit Adornos Kritik einer totalen Kulturindustrie zusammenbringen l sst. Wenn von sthetik die Rede ist, dann meist in Gespr chen in denen es um vermeintlich h here Kunst geht, die weit ber der sogenannten Massenkultur rangiert. Die Trennung zwischen hoher und niederer Kunst scheint heute so selbstverst ndlich, dass ihre flie enden berg nge und das Verh ltnis, in dem sie sich wom glich bedingen, gar nicht mehr beachtet werden. Der Philosoph Theodor W. Adorno entwickelte sowohl umfassende Theorien ber sthetik als auch ber das, was er zusammen mit Max Horkheimer als Kulturindustrie bezeichnete. Entgegen eines oft verbreiteten Missverst ndnisses lehnte Adorno die strikte Trennung zwischen Kunst und Massenkultur jedoch ab. Die Theorie der Kulturindustrie besch ftigte sich nie nur mit dem, was sich abseits von Kunstausstellungen, Museen und Opern abspielte. Dadurch machte sie sich nicht gemein mit reaktion rer Kritik an einer vermeintlich vermassten Gegenwartskultur. Adorno und Horkheimer explizierten stattdessen die Totalit t der Kulturindustrie, die alle kulturellen Sph ren umfasst, weil deren Ideologieproduktion sich eben auch in avancierter Kunst zeigte. F r Adornos sthetik war jedoch zugleich konstitutiv, dass jedes Kunstwerk einen Wahrheitsgehalt habe.
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