INDEX
absolutism, 70–71
Absurdo entre cuatro paredes, El (Dorf-
man). See Absurd within Four
Walls
Absurd within Four Walls, The (El ab-
surdo entre cuatro paredes) (Dorfman),
15, 48–50, 58, 68
activism–art relationship, 11–12, 133, 245
Adams, Patrick, 260
Adorno, Theodor: aesthetic theories of
mind control, 71; aesthetic theory of
form and content, 83; art–society rela-
tionship, 78; ‘‘The Culture Industry:
Enlightenment as Mass Deception,’’
246; fable of permanent catastrophe
suggested by, 80; theory of possibilities
of art after Auschwitz, 80, 176
Aeschylus, 118–19
aesthetic: avant-garde, 46–47, 79–80;
guerrilla, 81–82; political postmodern,
73; postmodern, 184, 189–90
Aesthetica (Baumgarten), 70
aesthetic: project, 249; promiscuity, 188;
theories of mind control, 71; theory
characterized by hope, 70–76
aesthetics: form and, 81–92; modern usage
of the term, 70
aesthetics of hope: anecdotes illuminating,
60–61; art and, 75–79, 89–92, 174, 176;
art–audience connection in, 63, 81;
characteristics of, 62; components nec-
essary to, 90; conclusions, 281–284; core
features of, 75–81, 89–90; dialectical as-
pects of, 76–79; Eros a≈rmed in, 80;
goals fundamental to, 258; introduction
to, 60–62; literary strategies illustrating,
87, 127; narrative forms converging into
a shared vision of, 118; in Pinter’s work,
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