Mohammad Taghi Ghezelsofla
Abstract
The emergence of the term of aesthetics in the late eighteenth century was neutral in the sense of pleasure. Since the mid-nineteenth century with Hegel's theory on the “End of Art” and the emergence of ideology and modern art, the relation between elegance and politics has come ...
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The emergence of the term of aesthetics in the late eighteenth century was neutral in the sense of pleasure. Since the mid-nineteenth century with Hegel's theory on the “End of Art” and the emergence of ideology and modern art, the relation between elegance and politics has come to be substantial. This relation also in the first half of the twentieth century in the totalitarian communism and fascist regimes was considerable. In this paper, the fundamental question is how the idea of aesthetic in the politics solidifies the legitimacy and strength of the government.This article tries to review the mechanisms of aesthetics in Fascism that only serves as a control technique by eliminating the solipsism of culture and art theory. In order to ascertain the hypothesis of some elements of fascist aesthetics such as praising the state, aesthetic refinement of violence and technology will be discussed. Research findings show that the objective phenomenon has aided the aesthetic refinement of state power, the strengthening of war and violence, and the support of speed and technology to meet the goals of totality government. In this Paper, we used the theoretical framework of critical aesthetics and the article has been written in descriptive-analytic style.
