Wim Wenders, Anselm - Das Rauschen der Zeit
In 1949, Theodor W. Adorno stated that after Auschwitz, no poetry, no art form, no creative statement was possible anymore. How can beauty be conceived after the fall of Hitler and the discovery of the massacres committed? In the tabula rasa in which the country lies after the war, in the land of g...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/ardeth, |
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| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Anglais |
| Baskı/Yayın Bilgisi: |
Ardeth
2025
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| Online Erişim: | Accès Université d'Orléans et IFPM |
| Özet: | In 1949, Theodor W. Adorno stated that after Auschwitz, no poetry, no art form, no creative statement was possible anymore. How can beauty be conceived after the fall of Hitler and the discovery of the massacres committed? In the tabula rasa in which the country lies after the war, in the land of great men of culture, but also the wretched home of Nazism, the fate of art becomes a central theme for German artists: this is the fate of the poet Paul Celan and the painter Anselm Kiefer.Wim Wend... |
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