Etymology of Autonomy of Art
The concept of the autonomy of art emerged in the late 18th and 19th centuries as a response to changing cultural and societal dynamics. The term “autonomy” itself is rooted in the Greek “autonomia,” meaning self-law or self-governance.
In the context of art, autonomy denotes the idea that art should be self-governing and free from external influences, particularly political, moral, or utilitarian ones. This notion gained prominence during the Romantic period, as artists sought to assert their independence and create works of art for their intrinsic aesthetic value rather than serving the interests of the state or religion.
Immanuel Kant’s philosophy, notably his Critique of Judgment played a foundational role in shaping the autonomy of art by emphasizing aesthetic judgment divorced from practical concerns. Over time, the autonomy of art has remained a central principle in modern and contemporary art, allowing artists the freedom to explore diverse forms of expression and challenge conventional boundaries while resisting external constraints.
Meanings of Autonomy of Art
| Aspect | Meanings |
| Independence from External Influence | Art is free from external factors, like politics or utility, enabling unconstrained creation. |
| Intrinsic Aesthetic Value | Art is valued for its aesthetic qualities, not utility, highlighting artistic autonomy. |
| Romantic Response | Romantic period artists asserted independence from societal and religious influences. |
| Kantian Aesthetics | Kant’s philosophy separated aesthetic judgment from practical concerns, shaping art’s autonomy. |
| Modern and Contemporary Art | Autonomy remains a fundamental principle, enabling diverse expression and resisting constraints. |
| Artistic Freedom | Artistic autonomy grants freedom for innovation and creative exploration. |
Definition of Autonomy of Art as a Theoretical Term
The autonomy of art, as a theoretical concept, refers to the principle that art should be self-governed and independent from external influences, such as political, moral, or utilitarian considerations. It posits that artworks have intrinsic value, with their primary purpose being aesthetic rather than serving practical or societal functions.
This concept has been fundamental in modern and contemporary art, allowing artists the creative freedom to express themselves without being bound by external constraints.
Autonomy of Art: Theorists, Works and Arguments
| Theorist | Notable Work | Argument |
| Immanuel Kant | Critique of Judgment | Kant argued that aesthetic judgment is rooted in subjective feelings of pleasure and is distinct from practical or moral considerations. This distinction forms the basis for the idea that art possesses intrinsic value and autonomy, independent of external purposes. |
| Theodor Adorno | Aesthetic Theory | Adorno explored art’s autonomy in the context of modern society. He emphasized the importance of art’s resistance to commodification and its ability to maintain critical distance from societal influences, enabling it to challenge the prevailing status quo. |
| Clement Greenberg | Art and Culture: Critical Essays | Greenberg, a prominent art critic, championed the autonomy of art within modernist painting and sculpture. He argued that each artistic medium’s essence should be examined in its own right, free from external references or influences. |
| Walter Benjamin | The Work of Art in the Age of Mechanical Reproduction | Benjamin examined how art’s autonomy is threatened in the era of mechanical reproduction, where technology can diminish art’s unique aura. He investigated the impact of mass media on art’s autonomy. |
| Arthur Danto | The Transfiguration of the Commonplace | Danto explored the boundaries between art and non-art, challenging art’s autonomy by proposing that it is determined by the institutional context of the art world rather than inherent qualities of the work itself. |
Autonomy of Art and Literary Theories
| Theory | Relevance |
| Formalism | Formalist literary theory aligns with the autonomy of art by emphasizing the intrinsic structure and form of a literary work. It underscores the importance of the work itself, independent of external factors or authorial intent, and focuses on how a text achieves its aesthetic qualities, highlighting its self-contained artistic value. |
| New Criticism | New Criticism, a close reading approach, treats a literary work as a self-sufficient entity and emphasizes the text’s ability to generate meaning without relying on external context. The autonomy of art is crucial in the New Critical interpretation of a work. |
| Aestheticism | Aestheticism values the autonomous aesthetic qualities of a text, asserting that art should be appreciated for its beauty and emotional impact. The autonomy of art is central to the Aestheticist perspective, which often prioritizes pure aesthetic experience over didactic or moralistic elements. |
| Reader-Response Theory | Reader-Response Theory, while focusing on the reader’s interpretation, also acknowledges the autonomy of art. It highlights the reader’s engagement with the text and the influence of the work’s aesthetic qualities on forming responses, thus recognizing the work’s artistic autonomy. |
| Poststructuralism and Deconstruction | Poststructuralist and deconstructive theories challenge the autonomy of art by revealing language’s instability and multiple interpretations. However, even in these theories, the concept of autonomy plays a role in understanding how texts create meaning and resist stable interpretations. |
| Postcolonial and Feminist Theories | Postcolonial and feminist theories, emphasizing sociopolitical contexts and power dynamics, engage with the autonomy of art. They explore how marginalized voices assert their artistic autonomy within broader cultural and political narratives, acknowledging the significance of artistic independence. |
| Historical and Biographical Approaches | In approaches considering historical and biographical contexts, the autonomy of art remains relevant. While understanding the author’s historical context or biography provides insights, the work itself retains its artistic autonomy and can be analyzed independently of its origins. |
Autonomy of Art in Literary Criticism
- To the Lighthouse by Virginia Woolf:
- Critique: In Virginia Woolf’s To the Lighthouse, the narrative is characterized by its stream-of-consciousness style and intricate prose. Critics often emphasize the autonomy of the novel’s artistic form, highlighting its focus on the inner thoughts and experiences of the characters. The novel’s exploration of the complexity of human consciousness and the passage of time underscores its autonomy as a work of art.
- One Hundred Years of Solitude by Gabriel García Márquez:
- Critique: Gabriel García Márquez’s One Hundred Years of Solitude is renowned for its magical realism and imaginative storytelling. Literary critics have celebrated the novel’s autonomy as it weaves together intricate narratives, defying conventional linear time and blurring the lines between reality and fantasy. The novel’s artistic autonomy allows it to create a world that is both captivating and thought-provoking.
- Pride and Prejudice by Jane Austen:
- Critique: Jane Austen’s Pride and Prejudice is often discussed in terms of its autonomy as a work of art. Literary critics have praised the novel’s keen social commentary and its ability to explore complex characters and relationships. The novel’s emphasis on the autonomy of the individual in matters of love and choice aligns with the broader concept of artistic autonomy in literature.
- The Metamorphosis by Franz Kafka:
- Critique: Franz Kafka’s The Metamorphosis is a classic example of the autonomy of art in literature. Critics have analyzed the novel’s existential themes and its exploration of alienation and absurdity. The novel’s distinctive narrative, which centers around the transformation of the protagonist into an insect, highlights the autonomy of Kafka’s artistic vision and his ability to create a unique and thought-provoking work.
In these examples, the autonomy of art is critiqued in understanding how each novel, through its distinct narrative techniques and themes, asserts its intrinsic value and independence from external influences, offering readers a rich and unique literary experience. Literary critics often engage with these aspects when evaluating and interpreting these works.
Suggested Readings
- Danto, Arthur C. The Transfiguration of the Commonplace: A Philosophy of Art. Harvard University Press, 1981.
- Greenberg, Clement. Art and Culture: Critical Essays. Beacon Press, 1989.
- Kant, Immanuel. Critique of Judgment. Translated by Werner S. Pluhar, Hackett Publishing Company, 1987.
- Lacoue-Labarthe, Philippe, and Jean-Luc Nancy. The Literary Absolute: The Theory of Literature in German Romanticism. Translated by Philip Barnard and Cheryl Lester, State University of New York Press, 1988.
- Luhmann, Niklas. Art as a Social System. Translated by Eva M. Knodt, Stanford University Press, 2000.
- Noël Carroll, ed. Theories of Art Today. University of Wisconsin Press, 2000.
- Shusterman, Richard. Pragmatist Aesthetics: Living Beauty, Rethinking Art. Blackwell, 1992.
- Stecker, Robert. Aesthetics and the Philosophy of Art: The Analytic Tradition, An Anthology. Wiley-Blackwell, 2008.
- Walton, Kendall L. Marvelous Images: On Values and the Arts. Oxford University Press, 2008.
- Weitz, Morris. The Philosophy of the Arts. Northwestern University Press, 1950.
