Abstract
Alain Badiou distinguishes between the didactic schema, classical schema and romantic schema in art, and further suggests that the avant-garde art does not create a new schema, but synthesizes the previous schemata into a didactico-romantic schema. Badiou strives to propose a new schema, the "inaesthetics" schema, which is both immanent and exclusive, that is, taking art as a truth-procedure. The inaesthetics schema is actually modeled around the avant-garde art, as Badiou believes that the avant-garde art embodies the "passion for the real" which implies two approaches of "destruction" and "subtraction." When Badiou attempts to combine these two approaches in his theory, he actually acknowledges that "inaesthetic" art is grounded on the avant-garde art. To put it alternatively, his combination of destruction and subtraction offers a new model of the avant-garde art.
Keywords
Alain Badiou, avant-garde, inaesthetics, the real, destruction, subtraction
First Page
203
Last Page
210
Recommended Citation
Xia, Kaifeng. 2021. "“Inaesthetics” and the “Passion for the Real”: Alain Badiou on the Avant-Garde Art." Theoretical Studies in Literature and Art 41, (2): pp.203-210. https://tsla.researchcommons.org/journal/vol41/iss2/20
Included in
Aesthetics Commons, American Studies Commons, Chinese Studies Commons, Classics Commons, Comparative Literature Commons, Film and Media Studies Commons, Modern Literature Commons, Theatre and Performance Studies Commons
