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Blood, Blood, Everywhere: Adorno‟s Theory of Violence in Selected Poems of Russell Edson

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dc.contributor.author Kochenower, Brett
dc.date.accessioned 2012-03-28T18:35:08Z
dc.date.available 2012-03-28T18:35:08Z
dc.date.created April 2011 en_US
dc.date.issued 2012-03-28
dc.identifier.uri http://hdl.handle.net/123456789/661
dc.description.abstract In order to truly appraise the value of violence in a work of art, it is crucial that we revisit our opinions and feelings about violence, and that we examine them in the light of critical theory. It is important to understand that there is no such thing as good violence or bad violence. As philosopher Jean-Marie Muller said, “It is essential to define violence in such a way that it cannot be qualified as „good.. The moment we claim to be able to distinguish „good. violence from „bad,. we lose the proper use of the word, and get into a muddle” (qtd. in Violence 62-3). Indeed, deeming an act of violence as “good” or “bad” adds unnecessary cultural value that muddles our assessment of it. While violence can be used as a means to disguise a lack of something (plot, acting, funding), the distinctions between what constitutes violence for shock value compared to that which asks for the audience reevaluation of themselves is a debate for a completely different essay; let us assume for our purpose.s sake that violence, no matter the context, reveals more about those that partake in it. However, this essay will address the prevailing value of violence in art, and what violent art says about the culture that we inhabit. In the en_US
dc.language.iso en_US en_US
dc.subject Russell Edson, Theodor Adorno, poetry, violence en_US
dc.title Blood, Blood, Everywhere: Adorno‟s Theory of Violence in Selected Poems of Russell Edson en_US
dc.type Thesis en_US
dc.college las en_US
dc.academic.area American Literature en_US
dc.advisor Kevin Rabas en_US
dc.department english, modern languages and literatures en_US

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