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By Lucian Krukowski

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Paper) British Library Cataloguing in Publication Data are available. Page v To My Wife and Daughter Page vii Contents Preface ix Introduction 3 One Hegel, "Progress," and the Avant-Garde in Europe 10 Two Kant, "Form," and the Avant-Garde in America 29 Three Adorno, "Protest," and the Twelve-Tone Row 45 Four "Appreciation," "Obligation," and an Artwork's End 61 Five Artworks that End and Objects that Endure 76 Six A Basis for Attributions of "Art" 92 Notes 115 Index 125 Page ix Preface The origins of this book can be traced to a time when writing one would have seemed an absurd ideaeven as a projection for my distant middle age.

3 The antagonism that energizes the Hegelian dialectic is between "matter" and "spirit," the inertia of the concrete present inhibiting the larger freedom of new possibilities. But the triadic scheme of the dialectic converts simple opposition into a process whereby possibility is made actual only to be transcended by further possibility. 4 In one sense, the Hegelian ideal is the conclusion of all historical process, such conclusion defined as not only the end of a most comprehensive sequence but the teleological "reason" or "goal" of that sequence.

I hold that a change in concept signals a shift in historical context and, thus, the emergence of new artistic concerns. Accordingly, I take the dominance of a given conceptual term within a group to be a historical event, an indication of an "ascendant" style. The subordinate terms linked to that dominant concept, in effect, bear witness to both the past and the future of that style, to its actual forebears and possible offspring, and thus to shifts in dominance in both terms and works. In chapter 6, I engage in a somewhat technical analysis of this issue.

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