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ADORNO

A Critical Introduction

Polity Press

Simon Jarvis

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Copyright © Simon Jarvis 1998

The righ~ of Simon Jarvis to be identified as author of this work has beenasserted ill accordance with the Copyright, Designs and Patents Act 1988.

First published in 1998 by Polity Presstn association with Blackwell Publishers Ltd.

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Key Contemporary Thinkers

PublishedJeremy Ahearne, Michel de Certeau: Interpretation and its OtherPeter Burke, The French Historical Revolution: The Annales School

1929-1989Colin Davis, Leoinas: An IntroductionSimon Evnine, Donald DavidsonKate and Edward Fullbrook, Simone de Beauvoir: A CriticalIntroduction

Andrew Gamble, Hayek: The Iron Cage of UbertyPhilip Hansen, Hannah Arendt: Politics, History and CitizenshipSean Homer, Fredric Jameson: Marxism, Hermeneutics,Postmodernism

Christopher Hookway, Quine: Language, Experience and RealitySimon Jarvis, AdornoDouglas Kellner, Jean Baudrillard: From Marxism to Post-Modernismand Beyond

Chandran Kukathas and Phillip Pettit, Rawls: A Theory of Justiceand its Critics

Lois McNay, Foucault: A Critical IntroductionPhilip Manning, Erving Goffman and Modern SociologyMichael Moriarty, Roland BarthesWilliam Outhwaite, Habermas: A Critical IntroductionJohn Preston, Feyerabend: Philosophy, Science and SocietySusan Sellers, Helene Cixous: Authorship, Autobiography and LoveGeorgia Warnke, Gadamer: Hermeneutics, Tradition and ReasonJonathan Wolff, Robert Nozick: Property, Justice and the MinimalState

Forthcoming

Alison Ainley, IrigarayMaria Baghramian, Hilary PutnamSara Beardsworth, KristevaMichael Caesar, Umberto EcoJames Carey, Innis and McLuhanThomas D'Andrea, Alasdair MaclntyreEricDunning, Norbert EliasJocelyn Dunphy, Paul RicoeurGraeme Cilloch, Walter BenjaminChristina Howells, Derrida

Paul Kelly, Ronald DworkinValerie Kennedy, Edward SaidCarl Levy, Antonio GramsciHarold Noonan, FregeWes Sharrock and Rupert Read, KuhnDavid Silverman, SacksNick Smith, Charles TaylorGeoff Stokes, Popper: Politics, Epistemology and MethodNicholas Walker, HeideggerJames Williams, Lyotard

Contents

Conclusion

Notes

Bibliography

Index

217232

261276

viii. AcknowledgementsAbbreviationsand a Note on Translations ix

1204472

90(].24)148175193

Introduction1 The Dialectic of Enlightenment2 A Critical Theory of Society3 The Culture Industry~ Art, Truth and Ideology

<-..5 Truth-Content in Music and Literature-....... .6 Negative Dialectic as Metacritique

~ 7 Constellations: Thinking the Non-identical8 Materialism and Metaphysics

5

Truth-Content in Musicand Literature

Introduction

One obvious objection to th hIt IS just that: a theo of'; t ~ory of art so far put forward is thatgeneral a level to furni h art ill general which operates at tooresists any attempt to s .~ theory of any particular art. AdornoVISual art or literatur~ro~ e summary definitions for, say,music,tempt to specify their Ii wether based on some functionalist at-more questionabl~ 0 ':;:ts or the nature of their materials, or,stilland regards this kind e histoncal 'origins' of the various arts,doomed and tedio of attempt at instant definition as bothYet although Ad

us. .f orno IS de Io ..2!t against nornin li ep y concerned to defend the concept

qualitative difference;~ stt- a~_Q.n it, he is not blind to thethink, however that th e ween the different arts. Adorno does notth 'ereltihose of the indiVidual art a On between the concept of art andas happened to art itself can be discussed in isolation from what

:::~ on 'Art and the Art:~ to works of art themselves. In anpoint of the colla' e dISCUSSesthis question from the

ary art·· B '-----'psmgl2:of <Tenon" boundar. '.. . m ussotti's' ~~es in contempor-musical tw graptuc sco ' hirnusi ar orks, or in the I res w ch are visual as well asuAsdlcOn the literary workse infl

fuence of the techniques of serial

orno ar 0 Hans G H 1m Ituali' gues that a 'd' I' . e s.zation'· V.' ra ectic of s . itualiz . . II)mor

. ergezstigung]" pin ation [or 'mte er-e art stri IS at work tthe . ves for autono fr or m autonomous art.' Themore It· . my om h h .illSISts on mast s eer ~l1Om.O.!!.S functIOn,

~ e'!y~0"-IC~ of which it makes

Truth-Content in Music and Literature 125

use.Accordingly such material - in which the difference betweenthe various arts}s often located by naturalist or functionalisttheoriesof their radical mutual incompatibility r comes increas-mgly to be regarded as a vehicle for the a.rIis.t'.s Pilll1os~. InWagner'sidea of a 'total work of art', for example, the various artsare to be placed in the service of the artist's unified conception.Anyidea that there might be separate procedures appropriate tothe individual arts, and which the artist is not at liberty to coerceintounity, is set aside, in favour of the immanent demands of theunified work itself.3 Vet when such 'spiritualization' is followedthrough to its conclusion, 'that which wanted to s iritualize [ver-geistigenlthe material, terminates inffiaKeU material as something~e y existent .. '4 Total spiritualization of the work of art is notPOSSIe, ause once it dispenses with all objectification, theworkof art can no Ion er distin . h itself from any other empir-! vical stimulus, no longer a 'work' .5It is in the context 0 t s 'dialectic of spiritualization' that the

relationship between 'art' and the individual arts needs to beunderstood.The weight given to the concept of 'art' is not merelya profess' nal m stification of ae eticians, because it is entangled'with this rea historical process. The more '1u on lYrks ofrt insist on free mas ery over material, the less a solu e y canboundaries b~n arts which are primarily defined with refer-enceto such material means be insisted u on. 'Art' cannot simplybe taken as a classificatory cover-concept for the individual arts,bothbecause its force is evaluative as well as descnptlve (chapter4), and because it is inciiss;;ctable from the historical dialectic ofSpiritua~tio~ in art. It is a condition of the possibility of inter-lpreting a p osopliically today that 'art' cannot slll1ply be col-lapsedinto the sum total of the various arts.Yet,as we saw, Adorno also believes that art which seeks to

present its autonomy as abs@te will in the event lose ItS auto-nomy, its character as -;;rt, altogether. Authentic modem art,Adornobelieves, has sensed the impossibility of Wagner's projectof the Gesamtkunstwerk: with the total work of art, art hopes to liftItselfby an act of will out of a division of labour which governsartisticno less than intellec~y;;th;;rkfr;d of prod

ucbon. It

may thereby fall victim to just the same charges. of dilettantiSm ~SCIentificwork which arbitrarily forces diVIded mtellectual labotogther (chapter 6).6 Adorno emphasizes the difference betweenthe 'fraying' (Verfransung) of generic boundaries in contemporary

i I

126 Truth-Content in Music and Literature

art and Wagner's 'total work of art': in authentic instances of theformer this process 'emerges immanently, from the genre itself'?Consequently It would be no more satisfactory simply to sub-

merge the concepts of the individual arts in 'art' than it would beto liquidate the concept of art altogether. Although in AestheticTheory Adorno IS chiefly preoccupied with what the arts share, inmuch of hJS other work he pays as much attention to the categoriesof 'music' or 'literature' as to 'art'.

Music and the concept

Adorno's engagement with .. f .. .I music IS0 particular Importance to hiswork. By the time of his early philosophical manifestoes Adornowas already the autho f b . I . ...nl fro a su stantia body of mUSICcnticism noto y ~ ~e new music produced by the composers of the so-c.illedsecon renness school, Schoenberg, Berg and Webem but also arange of other t 'and Hind . hc~n e,:,porary composers, such as Bartok, KrenekAdorno' ~~t. This early work already indicates much ofmusic. ~e a ~~aJect~ry as a music critic and philosopher ofwith es . IPI ri ry. difficulty faced by aesthetics could be seen

pecia canty in the ca f iti f .The legitim ti f se 0 en cism 0 contemporary music.analysis oft: onlo d avant-garde music through detailed musicalsuppositions n re ~~ o~ unelaborated or formalistic aesthetic pre-been matched s~ at t e genuine newness of the work had not

It is imposSiJ a comparably advanced aesthetics.breadth and e 1m~n account of this size to do justice to the

comp eXIty of Ado' " .. 9 Wh thisection of the bo k ill rno s .music criticism. at sof its basic premis w attempt to do instead is to give an accountAdorno's most im ort and to eXamine in more detail several ofof Adorno's music po. tiant engagements with music. The premisesdiscourage those c~ CIS,? are unfamiliar in musicology and oftenmusicological thOl:" h~ ~ght oth~rwise be attracted to Adorno'sof the philosoPhica? . though 1t IS possible to give an accountpossible to use suchPreffiJSes of Adorno's music criticism, it is notmethod for musicol an ~count to yield a universally applicablesubject matter wOul~~· .JIlethod-w.hich _did not alter with its

. . orno is a Liili-£dorno, a~ady have made Itse~ethodologist of muskolo ophical CrItic of music rather than aOne consequence of Ado gy., , .

cOgJUtive Content is th t h rno s mSlstence that works of art have aa e can use the entire spectrum of philo-


sophicalterminology usually reserved to discursive cognition as awayof describing elements of works of art themselves, For manykinds of philosophical aesthetics 'subject', 'object', 'dial~ctic' or'antinomy'would be terms which could only be approp~late as awayof formulating the categories and criteria of aesthetics Itself,not as a way of describing works of art. For A.dorno" any suchradicalseparation between the method of cognation or Jud ement

what is to be known or judged is already'~atic, Becauseworks of art are not just the 0 jects of<5i1T knowledge but are~emselves attempts to know, philosophical terminolo cannot be

bicted to the sphere of discursive co tion, e separ?tion ~m rve cogru on IS a real but not perfected histone

process. Because it is not perfected, the cogniti~e moment in worksofart is still open to philosophical interpretation, Yet because It ISreal, such interpretation must first of all recognize the gulf betw~~what its categories might mean in discursive cogrution and w athe mi t mean when a lied to works of art the~elves, d

Ii it ill ourse anMusic - constitutive y distanced from exp CI sc . h fdirect ., t hich is true neit er 0representation alike, to an exten w 'fli ' 'h t t ting questions or anteraturenor of visual art - raises t e moo es Ad'iti oment orno saccountof art preoccupied with its cogru ve m . f h frmusiccriticism perplexes many musicologists because 0 the, e-I, I' I d metap YSlCaqueney with which epistemologICal, oglCa an , di. I . Iworks or to in -terms are applied directly to particu ar musica I . al. . I till who e musICVidualaspects of them. More provocativ~] s , hi In theoeuvresare compared to whole ptillosoprocal authors ps.. and

- f B th n Adorno agamIIllleS1.eftforhis unfinished study 0 ee ave " his, di . I H gel·ll formulatIOns inagam ISCUSSesBeethoven as a musica eger, .' te verbatim

monograph on Mahler, meanwhile,. often anti~fa~ectics.12 ThisAdo~o's own philosophical positions in Negatlv~d musicologistsp~aCticecan offend professional philosophers a hilosophers likealike because it looks like a category-mJS~ake. t? r like a violationan aestheticization of reason and to m~lcolo~s :e less surprising?f the autonomy of music.13 However, It shoul haracter of worksm Viewof Adorno's theory about the language-cof art. . d Language', "In a short but important fragment, 'M';:SIC;X; of musiC:

Adorno attempted to specify the language- ara e . tedal sequence of arneuJa

Music resembleslanguage in that it is a tempor something, oftensoundswhichare more than just sounds. The~ 't~fu1ly they say It.somethinghuman,The better the music, the moreh;or wrong. ButwhatThe SUC<e5Sionof sounds is like logic: It can be ng

: I


has been said cannot be detached from the music. Music createsnosemiotic system.!'

Talk of musical 'idiom' or 'vocabulary' is more than simplymeta-phorical, in Adorno's view. Atonal music problematizes this affin-ity between music and language because it reje~s the 'recurringciphers' of tonality. This is one reason why complamts about atonalmusic are often couched as complaints about its language - thaD--don't understand it' or 'it doesn't mean anything to me'. Yetdespite the resemblance of music and language, no semantic'content' can be paraphrased from a musical work.U Adorno agrees that 'music creates no semiotic system', how-

ever, he nevertheless has reservations about any insistence that'concepts are foreign to music: Indeed, he believes that :thesuccession of sounds is like logic: it can be right or wrong:" Inwhat way are musical compositions 'like logic'? Adorno arguesthat the 'recurring ciphers' established by tonality _ 'chords whichconstantly reappear with an identical function, well-establishedsequences such as cadential progressions, and in many casesevenstock melodic figures which are associated with the harmony', forexample - have an affinity with the basic concepts of episterna-logy.16The affinity of such recurring ciphers to concepts liesaboveIall ill the way in which they relate to what does not recur.TheyorgaIliZe and shape less familiar material, yet their own forceandSignificance is not identical wherever they appear, but rather itselfdetermmed by the particular context. Adorno believes that aclosely related pattern is at work in philosophical compositions.The baSICconcepts of epistemology are supposed to ground andorgaruze a philosophical argument, yet, similarly, the significanceof any fund~mental concept is never unitary but dependent onItscontext, on ItS place in a philosophical text.. In Negatine DIalectics, a work which in general renounces discus-SIOnof aesthetic topics, Adorno indicates how seriously he takesthis affinity b tw hil .e een P osophy and music:

~ philosophy,an experienceWhichSchonbergnoted in traditionalmusicbeg~ryIS confirmed: one really learns from it only how a movementins and ends nothin b Igously hila h g a out the movement itself, its course. An~a-but in f ~ YWould need first, not to arrive at a series of cat~0!.1es,it proc~: t ~n~e,tCLC.Om.pos~tself. It must tirelessly renew itself.aswhat it me~~O' Its own. stre~~h as well as through its friction WIf:hdecisive not th l~elf agamst; .,!,t IS what happens in philosophy that 15oug t; w e':t. ~IS or ~ Osition; Its tabnc, not the single-traCk tr~inof

er uctive or 11\ ctive. For this reason it is essential to

129Truth-Content in Music and Literature

philosophy that it is not summarizable.If it were, it would be super-fluous."

'1 h with music He was given toAdornodoesnot identify phi osop ~ ' .. 'But philosophyremindinghimself of H?rkheuner s ':~~~~ more than a strayshouldn'tbe a symphony.ll1fY'etth~ cO':::atAdorno believes there ismetaphor.This passage makes It c ear Th affinity can be

affi 'ty b tween the two. ea very important ru e are non-summarizable. ~approachedthrough the fact that both eds b extracting forCriticismof philosophical texts often pr~ arg~ents in them,discussionwhat are taken to be the foun gthese Adorno arguesin thebeliefthat everything else follows frO~e to ~derstanding athatsucha procedure is no more adequa ret a musical composi-philosophicaltext than an attempt to mte~ Both philosophy andtionby summarizing the key-changes '~ 'ti: whose articulation

. . t al orgaruza on, . almusichavea constitutive in em hiloso hical text or musicis as essentialto the mearung of a p ., Por thematic elementscompositionas the individual proposltion;sition at all. Adorno'swithoutwhich there would be no comJ: . g by ostensive

. n their mearun dphilosophicalterms are never glVe hrou h their places andefinitionalone, but more emphatically t 19 grelationswithin philosophical composl~:~ts cannot simply beAccordingly,individual musical ~lal ills or arguments in \

mappedon to individual p~osophic ~~tion of musical worksadvance.Instead the philosophical mterpr hilosophical compOSI-mustbe conducted on the level of whole PI works and oeuvres. Ittionsandauthorships, and of whole ~usI':dividual passages thatis aminimalcondition of und.erstandmg J borne in mind, no lessthis compositionaldimension ISco,:,tinuaI~Iements there could bethan it is true that without the indlvlduanocompositionwhatever .

. I ompositionMusical and philosophlca c 'sts for Adornof h argurnen ail dAcloser idea of the impli~ations 0 t I eS~g at one quite det. ;:;s

musiccriticismcan be amved at by 00 hilosophy in mUSIC. lianinstanceof Adorno's account of the p ta form with Hege beConfrontationof Beethoven's use of sona isted would need t~his ~dialectic,a confrontation which Adorno m: ut it in the last 0'ninmalegy,but the matter-itself',2° or~a~~ch goes beyond mereThree Studies on Hegel, 'an analogu


analogy'.21 For Adorno 'the history of music at least sinceHaydnisthe history of fungibility: that nothing individual is "in itself"andthat everything only is in relation to the whole:22 Increasingly,allmotivic-thematic material must not be merely recapitulated,butworked on and developed, a demand which is strikingly exempli-fied in Beethoven's relentless breaking-down and reworkingofthematic material. This demand places its own strain on therecapitulation section of sonata form, however: that is, on thatsection of the sonata form which is to bring such developmentback into a unity. The more extensive the reworking of motivicmaterial in development, the less convincing is a straightforwardreprise of such material in its first, undeveloped, state. Accord.mgly, Beethoven increasingly begins to carry out developmentinrecapitulation sections too, and greatly to expand his codasbothinextent and significance.23Adorno takes the aim of such manoeuvres to be a coercionless

relationship between individual motifs and the form of thewhole:the hope, in Adorno's view, is that the whole form couldbedeveloped out of the impulses inherent in the individual motifsthemselves,. rather than externally imposed on them.> Therecapil·ulation section of sonata form is a point of such difficulty becauseat such moments It tends to become clear that the unity of thewhole form can never be entirely without a moment of coercion,thatsonata form remains to some extent externally imposed onthemotiVlc-thematic material.Ad~rno believes that there is a deep aJfinity between Beet-

funhove.ns. approach to sonata_iorm and uegel' n dialectic.PThegIbility of all . di . -- ---'-"" .....","'--. . In IVldual thematic elements in autonomous

;;:USICIScompared to Hegel's refusal to allow an external limit toth se~ to thought, his refusal to allow a being which cannotbeoug t. Just as all themes must be developed in Beethoven soallSUPposedly brut . di . ,

in thinkin e m IVldual facts must be shown to be entangledmust b g f~r Hegel. The insistence that all thematic materialphasis ~n":t~:~a~~n and developed is comRared to Hegel's em·the labour f th ur of the concept': the more so because, asWlthexternally to. e concept, such musical development aims not

o Impose 'form' ,. f hway in which d I upon matenal' but to grow out 0 t einterrelated F ~ve opment and the material itself are alreadyless identitY o~'t y, and most importantly, the hope for a coercion-, ccero·onl ·dormand material is compared.loJIegets..hope for--..... ess I entity f·d .lieves that the str· 0 I _ent~ty_<lndnon-identity. Adorno be-

ams placed On the recapitulation section ill

if

Truth-Content in Music and Literature

. I dBeethoveniansonata form are closely parallel to the st;ams paceonHegeliandialectic by what he takes to be ItS final turn toi nti (cha ter 6). e recapitu ations in sona ta form tend ~odicatethat thewhole form ~!iIldoes after all externally c?,,~~ t~

Particular thematicmaterial: the moments at which Hegel -id tity, . - t f t or castigate non-i enidentrtyallowsItseJIm prac ce °fo~ge tity and non-identity is ashowthat egel's reconciliation 0 I en I

ced ratherthan a full reconciliation.26 . confronta-Atthis point however Adorno begins to develop this

" to indicate differences astionbetweenHegel and Beethoven so as I h vingwellasaffinities.Adorno regards Beethoven's late sty e asae:tif)"developeda criticism of the jdentity ot IdentitY and non-I .- b t

- id t t rid of the repnse u'm his last works Beethoven di no ge n r 0 enl :v Ratherratherlet th~ideological moment in It ap~ea con~uc~g furtherthan attemptingto mtegrate recapitulations ~ allow the conflictdevelopmentin them, the later works gener a Y ear quite openly. >betweendevelopment and recapitulation to pp ement of Beet-Wemightsee the recapitulation in the first mov of this Theh . C· 111 as an mstance .oven'sSonatam rrunor op.. t the close of theexultantmaterial appearing !n a major key a d troubling quasi-expositionis followed by a bnef but compl~xl a~ ted at the close offugaldevelopmentsection. When the matena bS ~now in the hometheexpositionreappears, it does so ~' dUd im ossibili ofkeyofC minor.The effect is of an ackno~ e. e piking1y at odds~~~; finally,the sort and quiet co a IS sment has openedWit t e powerfulgesture with which the mo~e course. At suchandwhichhas been developed throughout I s e of the limits of

. 'b comes awar bmoments,Adornowill argIle, music e blatinS; its premi5t'~ yItsmovement- of the ,!ropo5§}ln!lty of su '13 ;W; Etc; 'aAAO yEVOC,f~ceofitsownlogif. The late style IS the !-'E'W ready see affinities[lea into another domain]' .28 Here we ,~~t~ style and his ownbetweenAdorno's account of Beethoven. f t is a model fOrcritiqueof Hegel The late Beethoven, In ac 'king the imputa-

~

. . hich ees ns bdomo'sown negative dialectIc, w s. k necessarily run y. a "ganstionofa 'leap into another omam, 8) _l anywould-bematerialist thinking (chapter .

1i

Immanence and musical analysisgy' between philo-

This'analoguewhich is more than an analo eries of allegoricalSOphyand music, then, does not rest on a s

~ Truth-Content in Music and Literature

decodings - in the way that, say, Wagner's operas are sometimescrudely decoded by a process of motif-identification so is toextract a kind of prose Rreds of therr sUP)2Qsed emotional content.AdOriiO does not think that the truth-content of musical war canbe extracted by adding up supposedly individual atoms ofmusicalmeaning, any more than philosophical truth is just the sum totalofcorrect propositions. . jThis helps to explain Adorno's distance from musical analysis,

From the standpoint of professional musicology Adorno's account \of the affinity between philosophy and music might appear in-

ufficiently demonstrated with respect to musical detail. AlthoughAdorno can scarcely be reproached with insufficiently concretemu ical reference - his music criticism continually gives chapterand verse - he rarely proceeds by concentrating upon a singlework and providing a consecutive account of it. Adorno is by nomeans dismissive of this requirement and indeed provided de-tailed accounts of individual works on a number of occasions." He

....regards the demand that works of art should be analysed im·manentlv, on their own terms as an advance over forms of~J' ,

criticism which attempt to judge the work with some quite ex-ternal normative criteria - that sonata forms, say, must have anexposition, development and recapitulation, or that tragedies J!1!!>lmclude a moment of recognition and a moment of reversal offortune.30

But it should be clear from what has been said so far that hecould not regard this demand as an absolute requirement ofmethod. It is part of the necessary illusion of works of art toresent themselves as closed monads, obeying their own law, buthis IS not an IllUSIOn to which philosophical interpretation shouldSUbffilt.

31The self-sufficiency of the analysis of a single musical

work Or movement is itself illusory. Because of art's language-~haracter, the works do not generate their significance, nor evenatffilnunally descnptive level their qualities, purely from Within

themselves. The criticism of a single song by Schoenberg may~equrre not only an understanding of Schoenberg's whole oeuvre,h~~;sO a theory. of the relationship of free a!onalitLto ilia-toroc~ ny,. of the Geaer tradition of the relationshipJ1etween D)USIC'1 text m song settings. That ~ -indiVidUal essay ;:;;ill be able toeXtia~st these requirements does not justify pretending that musicen Clsm can confine .ts If aI . ofa closed monad Ie. to the supposedly 'complete' an yslS

. Indeed It IS In Adorno's view one of the pnmary


. f th form that it frees the critic from the delusoryvirtuesa e ~y -, , 32andimpoverishing goal of coverage.

,/

The dialectic of musical enlightenment

. not discrete classifica-Autonomo nd heteronomous musIC are . crto"ttreto zones. e autonomization 0 m~ICttlS al~:a~tonomizationsame . ecticof enli htenrnent ~hic a en Adorno's accoun 0

ofthesu' itself. . is we ustrate y. Admirers' Adorno. his essay 'Bach Defended agamst his inter-preted as

attacks the wa in which Bach's muslcS~~ U:;etations haveou I were pre-autonomous art. ntal and internally static

pt&11RI Bach's wor as a m?n~me. e' contrapuntal and har-edifice constructed according to ':1:>Jectiv t ken as an artisanal

h hi ;err has een a li 'tmonicrequirements.33 Bac mse . h tands as an imp Clfigure,a 'master craftsman' of muslcdw ~s tivist conception ofreproachto a supposedly.infIated an s~aJ:~ been accompaniedgenius.34These musicological emphases . rformance which

. . II authentic pe eliby an insistence upon hist,;mca y . tivist performance tra. -seeks to correct the romantic and subjec 35 ac s work IS in-

lion inherited from the nineteenth centu '. tivism of modemhow su Jecvo as a corrective to t e sa. holly heteronomous,

~utonomousart, as tho,;,-gh.his music we~e;"such invocations areill the service of a static ntual context. nl to the eeltn -S!f. anthemselvesromantic because they refer 0 h an order has been

, d bt: sue tio~ective ritual order free of ~ ou the event no less roman cirrevocablylost and appeals to It are in roach.36than the romanticism which they eagerjr./eJrno s approa fClth;

ca es an importan aspec 0 in music, and ItS cons icproblemof autonomy and heteronomy well as for mus

. f rmance as thanquences for interpretation in per 0 oUS art is bettercriticism. His argument is not that autono~ f art is an inescap-

mization 0 k justheteronomousart. Rather, the autono werfully at worablehistorical process which can be s""ctnpo favour of supposedlywherethe most zealous protests are ma; ~s attention to the r~heteronomous 'objective' art. Adorno a r in Bach's work. h

' nli ht nmen th w 0senceof a dialectic of musical e g e ealed to b~ ose b arthoseapparently archaic pieces most :Pfatic music m f~ ~ 37would tum Bach into a comRoser.o S ariation' (SCfioen erg to'Yitnessto BaCli's dynamic 'developm :se of polyphony so asAliornoanalyses Bach's free and fleXlble

.,


emphasize its difference from medieval polyphony. That Bach'smusic is sometimes archaizing, rather than literally archaic,al-ready testifies to its autonomous character. Adorno gives theexample of how

The C-sharp minor fugue, which begins as though it were a densenetwork of equally relevant lines, the theme of which seems at first to benothing ~ore than the unobtrusive glue which holds the voice together,progressively reveals itself, starting with the entrance of the figuredsecond theme, to be an irresistible crescendo ... 38

The keyboard instruments for which Bach wrote, of course, wereuna~le to produce a crescendo. Adorno is arguing that advanced

[

I.' II mUSICcan 'pomt beyond the currently available possibilitiesof ~I rJl-reahzation m performance. Performance is interpretation, nothis- ,I. lc;>nCIStrecreation, and cannot ignore what has happened to music

smce ItS_~omposition,39The .extent to which Adorno's approach to the idea of progressin .

art IS informed by the ideas developed in the Dialectic of Enlight·~~enf can, be seen in more detail if We consider the accountofM oenberg s twelve-tone composition in The Philosophy of Modern

USlC. The work was completed shortly after Dialectic of Enlight·~ment and was seen by Borkheimer as 'the basis for our commonhor~' and by Adorno as 'an extended excursus' to that book."th e~~lI>_o~_twelve-tone composition is a note-row using eachof

eh efve tones of-theocrave;-in which no tone may recur beforeeac 0 the othe h b hinvertin it b rs a~ een eard, Further rows are yieldedby(retr -gd ~ Y playing It back to front (retrograde) or bothby b()g;,a ~ mversIon); the possible rows can be further addedtothe :fta~~each of these four rows at any of the twelves tonesof

Th ' US YIelding a total set of 48 rowse mathe ti I .supporters of ~h ca neatness of this procedure delighted someentirely fresh t oenberg., Twelve-tone composition was seenas anhence heteron~ art m mUSIC.By rejecting the merely traditionalandclaimed, a Wh~ou~ formal, dIctates of diatonic music, it couldbeslruction had b y ra?onal or 'logical' schema of musical con-tonality, yet mo::n amved at which was as systematic as diatonicthe conslructi ~a;lOnaL It could thus be held to make possible'free atonality?~ °d arge-scale musical forms as, it was claimed,language had b a not. The problem of a post-diatonic musical

. h een solved andWIt production 'thin ' composers could confidently getonWI thiS framework.41


---AS earlyashiS correspondence ;jth Krenek in the late 1920s and19305 Adornorejected this view of twelve-tone composition.V Thejustificationfor twelve-tone composition was not formal or math-ematical,s' less. aunded in a theory of human nature, but. toOO. Accordingly twelve-tone com osition c?wif not b

turnootowith relief ado substitute for tonah , an escapem theanxietyof musical lawlessness. The refusal to submit to

diatonicharmonic restrictions or the traditional forms dependentonthem,a refusal which was made systematic in twelve-tone

under ' ., .on from a Widerdialectic~fenlightenment. Twelve-tone technique announces at. by ann~dlctates whiCh are purely-"e~ronomous, given 1external!authoritative tradition.iare to be to er~ed. It IS close y

und"upwiththedistmct 'ut re ated refusals 0 autonomous. I t *' heteroQomouSreasonand of exchange-value to to era ~an ""'~

tothemselves43t1a....,:-~~ ~~'e ~..• "" r. d. . ~-~_.__. fd~ ~_.,: O""'T either goo norIn Itself therefore twelve-fone technique IS n h' , n as roue (bad;'the great moments of late Schoenberg are wo , . al

chni '44 It IS a musicagainstas by virtue of twelve-tone te que,... . dd . , tur I I n a e of mUSIC,anommationof nature' 4S not a na a a I' ,'t ess IS a waysornoemp asizes the ex ent to w Ie I S -~. t Indeedalsoboughtat the rice 0 necessa \ill ovenshme~ s'd to b~tw I .. how guaran eeeve-tone compositions are not some, f an u -to-dateauthenticallynew simply by the applicatIon c: t 'piS not amethod.As Adorno points out, the twelve-tone sys emtI, 1t is

h ti for composl on,met ad of composition but a prepara on h alette thanbettercomparedto tl1,garrangement of colours 2n ~ .Ptwelve-toneJll the"llaii1tii1ilof a p-icture.'4 Instead, succesStr dition ratherCompositionis new by determinately negatIng athan by simplyjettisonin . ~ . considering a con-

erence can be further explamed by and a bad one. Inlrastbetweena good twelve-tone compOSItIOn its course un-theworkof Joseph Hauer a 'particular rowh~h~ composition-alteredexceptfor placing and rhythm throug 0~7 In Schoenberg's, .. the resultsare of the most b~rr~n POV~~ter extent, archaicwork~however 'classical and,. to an even ~ into the twelve-topetechniquesof variation are radically absorbe d loped from pre-~-l8 the device of retrograde roWS IS eve heteronomoUS~,:;<-_. H 's musIc""""lUc..music,for example. In auer -b d ned' in Schoen-lrd" b' aano,,a Ilionis a.Qstractly_negated, by emg tl just as twelve-~~,jUs deterIninately negated ..Conseque~ ~perience, rathertonetechniquehas its justification m histonc

G Truth-Content in Music and Literature

than in invariant laws of music, it can pass away ratherthanfurnishing the immutable rules for subsequent composinon."

There is thus a dialectical, rather than a unilinear, relationshipbetween tradition and the new, convention and the breakingofconvention. What crucially distinguishes the really new fromtheab tract novelty - and hence eternal self-sameness - of commodityproduction in the culture industry is that the really new workismade in undiminished awareness of the possibilities affordedbytradition rather than by a Simple forgetting of traalfion. S01Ifat,forexample, a central feature of the radical newness of Beethoven'slast piano sonatas is precisely their recourse, within sonataform,toappa~ n~ly obsolete and incompatible contrapuntal techniq~~50

It IS In the context of this dialectic of enlightenment thatAd rno's celebrated contrast between 'Schoenberg and progress'and 'Stravinsky and restoration' in the Philosophy of ModernMusicneeds to be understood. The contrast is not one betweena zealotfor progress and a zealot for reaction, but between two composerswho have both recognized the way in which tradition and theneware entangled. Schoenberg's music, no less than enlightenmentingeneral, represents a process of relentless subjectificationin which~o~g may remain outside' the will of the composer.Schoen-

rg s relentless extension of this musical domination becomesacrItique of the real advance of the domination of nature."thWhat Adorno describes as Stravinsky's 'objectivism', on the

d er hand, uses a critique of the advancing subjectificationandOIJUndatibon of musical material to place subjective expression

un er a an Adorno eli'Stravinsk'" . . xp cates a whole series of central featuresmem h . J s music after the early 1920sfrom this perspective.The

p asis on dynamic fo al d . b thof late diatonic wo rrn an development characteristic 0new interest in da rks and of Schoenberg's school is replacedbyastatic contra t idn~e forms where blocks of material are placedinritual repeti~ ,SI : y SIde WIth each other;52there is an interestinthe perpetua~>n~er:USlcal material Orstatic figuration in placeofforms whose signifi tic VarIation of Schoenberg;53conventionalimposed Ona mu . ~ance IS bound up with tonality return to be

lAdorno contin SI~ content which is only partially diatonic.51

and technical b~~ y emphaSIZes Stravinsky's musical masteryjUstifiedstatus as a ance. It. IS precisely because of Stravinsky'Sthat he is Worth ceti~~alfigure III twgnfietli-century musicallifeh . cn CIZlIlg55 Th ' mP asIS On the hist . I . e counterpart of Adornos e -. . onca truth c t f isan IIlSIstenceOn their hi . - on ent a works of art, however,

stoncal ideology-cont~t. Adorno's target=- - )


inhis critiqueof Stravinsky is the misuse of a critique of s~b-jectificationto the goal of liquidating the category of the subjectaltogether. Apparently objective elements - archaic forms, static

. figurationrituel and liturgical texts - are restored to the musicalwork,whilst the 'subjectivism' of free atonality is deplored. Bubt the

. . tored I2J< te su tect.

~

. t is that these objective elements are r~ . ., act no essThis appealtoobjectiveand collectivz,conventions IS ~. . dthoroughlysubjectiveand~rbitrary than the subjectiVISmIt e-

10res.56 In a work such as the Symphony of Psalms s7a;~":::providesus, not with literal ritual, but WIth the taste 0 hallow-invitingusinAdorno's view, to chastise ourselves for the s chaicnessof~ secularculture with a taste of something m~~~~:C:~e

~

d pnmordial.?Such works offer, not actual ntual ~ it The aresolidarity,butan arbitrary and fant~sized mvocation or n. Yasubjectivedegradation of the subJect.58

The essay as form

, "h strong interest in lit-LikeotherEuropean philosophers WIt a his most pervasiveerature,Adornohas recently found perhaPhs ist' or simply as a, " . 'lit rary t eonsImpactmBritainand Amenca as a e t critical method'theorist'.Yetwhere it has been ho eo.to ex:e~~::een isa ~oint-~domo s work, the results ha~e m g~Adomo oes notlend~ UilIikesome other Marxist thinkers, k f AIthusser, for

, If I' ' In the wor 0to this kind of app IcatlOn: " b tween 'science', onexample,thereis a more decided bifurcatio~ e Adorno's negativetheoneband,and'ideology', on the other, ~f~usser's work moredialecticcouldever accept. This has made h dology for literaryreadilyexploitableas a source of a met 0 criticism from thecriticism;andmuchMarxist-structuralIst hte~"7 £u1 than Adomo'smid-l97Osto the mid-1980s found it more e pthoughtforjust this reason. resenting a largely \

Yetsuch approaches often suffered from p hich were to be -\\staticantithesis~tween theory and the te~:= ;series of increas-

!'I'Ocessed by it. Such theory came to resem less text could be fedlfiglyelaborategrids through which the h~, 0 Jections to 5U~

as thouh it were so much raw mate, nsensical or antip me were ruled out 0 court a~~~eo~~theoretical.59 fheliilluence oraeco~ble .to<Ul!..:~t~0

ou , tough it has been largely av rtheJess created a~,.I_:.. 'a1 ' has neve""lCl.lt'CQ.C, even a 'negative' dl ectic,


climate in which it is understood that theoretical and philosophicalreflection on literature need not mean the prior completion of afully armoured method and its subsequent application to literaryworks. ~ such a clintate it has once again been possible to turn toAdorno s literary criticism without demanding that a methodologyshould be extorted from it.. For Ado,:,o, the idea of a prior method is no more acceptableinliter~ cnticism than In any other of the human sciences. Method-OlogIsm, IS necessarily dogmatic because it presupposes in advancem~thod s adequacy to Its own subject matter, that 'the order ofthings is the same as the order of ideas.'60 It is thus condemned toousrecOgruze what it would process. Adorno is more aptly de-sen bed as a philoso hi I li . . . .This . P ca terary critic than as a literary theorist.f the one reason why he places such emphasis on the significance

~ e essay form for literary criticism. A central virtue of the essay

PO~illS thaft it 'has successfully raised doubts about the absolutenv ege 0 method'.61Adorno regarded hi '. s essay on The Essay as Form' as one of the

:~:~ ':~~ta~~ stateme~ts of his thought. The tradition of theexemplifi d b orno WIshes both to defend and to criticize ,sthe youn; LJ-cer~am German critics of the tum of the century-can also be sacs, Immel, and Benjamin - but some of its featurescritic such ::nCml th~ work of a philosophically informed Englishessay has beco 0 en ge. The philosophically informed criticalprofessionaliza:e s~spect wherever the advancing division andenforced. It offe~~~ b~:ellectuallabour has been most powerfullya prior consistent th h agamst pseudo-scientific demands forclean separation b~~dOlogy and against related demands forahas a belletristic 0 dil n philosophy and the human sciences. Itthe intense suspic·r ~ttantistic element to it whicll has incurredAdorno regards a~o~ Prof~sslonal specialists, a suspicion whichThe attraction of ~h: partially justified. .

way In which so m P~OSOPhiCal essay for Adorno lies in themerely practicable ~~?{,::,t~e central aims of his thought are notby It. The essa addr e essay form, but actually demanded

.a....5}!S. ex nihilo; I;';S~S artefacts rather thanj!ttempjjog to creater~ 62I Jects are conseqJJ.ently already historicalstand the mu1ti-fac~~d ~ form is ?iven by an attempt to uniler-by pno'. methodologica?' alllJes ?f ItS artiQilar object rather thanby ItS limited scope fr unperatives yet it is liberated in advancereplication of its ob' :50mthe posi 'vist requirement for total

Ject. Th hil .e P osophical essay as Adamo


conceivesit that is already presents the tension between system-, r d '

aticand anti-systematic thinking which is so central to A omo sbroader epistemological and methodological projects.An Adorno's literary-critical work takes the form of essays.

Their freedomfrom methodologism also means that t~ey are freefrommany of the more familiar taboos of literary a:tiClSm: be-causethey do not start from a specified 'function of crihcism butratherfrom constellations of concepts and objects and the deter-minate negation of all such professional or methodolOgIcal func-tion speQfied from outside which attention to such co~llations. plies.There IS according y no pro I on m dorno s work onograp 'cal, anecdotal or kindred material, any more than. ther~~,oonversely,a reduction of meaning to a pnor authonal mten~ th ., . .. th n as of hi aes eticse aim of Adorno's literary cnlJasm, en, .. teri alist An mstancegenerally,is to proceed as a non-dogJDatic rna en . . nonsofthis can be seen in Adorno's treatinent of hermeneutic caf th, "d f a 'pnonty 0 elOrreading,They show how Adorno s , ea 0 . t bebi , , h have seen IS not 0o lee!in aesthetics' - an idea whic ,as we .' iti ' mnfus' ,." k i his literary en as 'co edWIthany objectivism - IS at wor in th k's

Ad ., . thrall to e woromo criticizes both a subjeclJV1Sm in k' reception,

p~uclion and a subjectivism in thrall to the w~~ s he attacksLike manyother mid-twentieth-cen~ literary c~' to extractthepresupposition that it is the critic s task dU't th~t is that a£rom a literary work what the author put into 1 f' the dteaningreco tru . .' . deCISIve orns ction of the author's mtention IS , h truth-contentofaworkor of a passage in a work. Indeed, smct t eth carmot beof an artwork, in any non-idealist account 0 tru , art be .som~g made (chapter 4), 'the content of he intention is extin-~y where the_author's int~ sto s, t critical of any idea~hed in the content:64 Yet Adorno IS equallJ as the sum total ofthatthemeaning o..Lthe...llLork...ca~~ifie be in agree-~ - , All eaders mayye empirical responses to It. r

t d nevertheless be wrong, b'ectivism wouldThis simultaneous attack on two kinds o~ su J'ectivist literary

a~ to leave us with a straightforward ~ ~f !the work itself',CrIticism, committed to describing the qualilJ an more than mYet a priority of the object in aesthetics cannot, Yerything sub-negativedialectic, be reaclled simply by deletinge~r' 'objectivityIeclive(chapter 7), or by deleting valuation alto~een s~btracted:65tnot what is left over after the subject hasl to make use ofoonlingly,Adorno's essays do not scrup e


material which positivistic philology and theoretical methodolo-gism alike - including Marxist varieties - may find hopelesslysubjective or belletristic. His essay on Bloch and his Spirit of Wopiilbegins by recounting how 'the dark brown volume of over 400pages, printed on thick paper, promised something of what onehopes for from medieval books, something Ihad sensed, as a child,at home, in the calf's leather Heldenschaiz, a belated book of magicfrom the eighteenth century, full of abstruse instructions many ofwhich I still ponder even today.'66

UAdorno's work were content to rest at this level of anecdote itwould indeed be feuilletonistic; such elements would not byth mselves suffice to distinguish Adorno's literary essays from thework of many other critics unintimidated by professionalizedPOSitiVIStor methodologist prescription, Adorno's literary criticismlS ,further distinguished by its insistence on the need for thephilo ophical interpretation of literature, His childhood reminis-cenc~ of Bloch's book is the starting point for a consideration of therela,tionship betwe~n the apparent contingency of individual ex'penence and utopian thought, a relationship which is itself acentral theme of Bloch's book. Adorno is no more willing to writeoff subjective ex erience of such material details as mere can·tinO'e a ' .~="'::"~-"";-'=:7'"-:=.:=7;;-g' n e I _reduce the meaning a works of art tosuu ec v . -.d . e ex nence of the . Rather than discounting such ron-fr erations as purely personal, unprofessional his essays moveam such b", 'bi . su jectiva expenence to show how it is never utterly~oub'ectitiv!' ,but i~ entangled in the object ItS.eU. Ihere can be nojec VISt terary c .ti ' h thlit ' n cism w ich just offers to describe e

su~a'r. t~bject 'as it is in itself" by deleting every trace of thethe j:t~rr:!atth to the riori of the ob 'ect, instead leads thrau hits immecliat a li~cr;tid~~ of u 'ective misreco nition at through_----'==:::.:e:;:, ~I ~on.

Poetry and the domination of language

A model of what this 'Adorno's inte ret . means 1Il a particular case is provided byphilology takes"':. ation of Holderlin's late hymns.6' Wherevergoal, Adorno ar recov~ry of the author's intention as its primaryinterpretation of 1':~~dIt, ~rovldes an insufficient basis for theaims to recover th ~ erlin s late work. Adorno's essay, instead,truth manifested o~, truth-co~tent' of Holderlin's late hymns: 'the

jectively In them, the truth that consumes the


subjectiveintention and leaves it behind as irrele;rant', Yet; as weshouldexpect, an Adornian account of such an objective truth-contentproceeds not from the fixed standpoint of first philosophy,butby way of a determinate ne ation of subjective; rrusrecogru-tion.%cit a path needs to go~ criti ue, an attempt10 judgethe works on 'their own' terms alone, though Adornoregards an ~nce on such ~nence as a necessary correctivetoanolder philology which mistakenly Imagined that It had fullyinterpreted a work when it had exhaustively catalogued Its~ 'influences' and circumstances of production, he does notbelieve"Thatimman~ncecan be turned into a self-sufficient canonof criticalprocedure. As in the critique of metaphysics and epls~!temology,e:jtiquecannot~~aled in a sphere of unmanence, buinsteadis to point beyond such immanence:

The aim ofimmanentanalysis is the same as the aim of philOSOkphY:ls~~truth din t which every wor wan-content.The contradiction accor g a . so understood isbeunderstoodon its own terms, but none can In fa~ b: the determinatewhatleads to the truth-content. , , The path follow Y to the truth-negationof (subjectivelyintended] meaning IS the pathcontent68

Th limi . " do not however, justifyese Is to 'immanent' cntlClsm ' 'ofthe, eizes posseSSIOn~ to i!..E!'ilo~y that in any v:ay s " out of its \poetry'ana reads its own motifs Without heSItationsemantic content.69 , ' ' m of Heidegger's~omo develops this point through a critic:; H idegger's rec-phiI~phicaI essays on Holderlin He a,£P~theer than purelyo~tion that the hymns demand philosopKic. to the way in ,P~logical interpretation, but has two obJec~O~e contests thewhich Heidegger carries out this task, Frr~" taken as a kindcontentofHeidegger's interpretation. Holde~t;Srootedness in a~f~~degggr, centrally preoccupied I modern world.70O~d ana with a questioning of the root olicit contrast to theHeideggerthus reads Holderlin's work in unp, own thought IS

cennan idealist tradition, of which Heldegger s ent of truth in:.critical.n Adorno concedes that there IS a m~~deriin'S poetry, Interpretation. The philhellenic moment Ul f modernity and IS

IS~ bound up with this kind of cntlCJue 0, .n But he arguesagenUlnelink between Heidegger and Holderifement in Holder-thalintHeidegger's true perception of a mythicl et and fix it, rather's poetry miscarries because he seeks to iso a e


than considering its relation with other elements in Holderlin'swork.73 Instead, Adorno demonstrates that Holderlin's close linkswith the German idealists Hegel and Schelling can be seen at workwithin the minutest semantic details of his texts.

Just how condensed and complex Adorno's account of therelationship between philosophical motifs and aspects of poeticform and content can be is indicated by his analysis of Holderlin'suse of 'abstractions, or more precisely, very g~neral words forexi ting entities which ~etween entities and abgract@l,likeHolderlin's pet word "Ather" [ether]'?' Ad;;-rn~onsiders thesethrough a comparison and contrast between Holderlin and Hegel.

lBoth, he argues, are 'antinominalists', opposed to the notion thaturuversal concepts are mere false subsumptions of what alone arereal, particulars. Yet both are equally committed to a belief thl'h1Pknow ledge is mediated through experience.tf For both, the ~,then, IS a reconciliation between !!JlLv..ersaVn4...Pi!rticular. Butwhereas, Adorno believes, Hegel's thought ultimately 'declaressuch a reconciliation already to have arrived, Holderlin's verygeneral substantives testify to the ~nciliation. They~fuse to supply us either withclearscut concer-ts ~try ofIdeas' might do, or, on the other hand, with th~ impression ofconcrete livecLexperien~e, as subjective lyric might do?6 Instead,~ords like 'Ather' and 'Ozean', as Holderlin uses them, 'waver'Irresolutely between the two. This is just the aspect of H6lderlin'swork which prompted Weimar classicism to regard it as 'formless,vague and remote'·77 d Ad . ., hisf ..' an orno concedes that It IS Just tde:ture of Holderlin's diction which makes him ripe for Rei-

f ggfullenanmterpretation. Adorno himself of course complainsorce yabo t i I 1a form f' u Just such a wavering in Heidegger's philosophya5

eq. aJ° pseudo-concretion'. But he insists that H6lderlin'5wvoc general s b t .tends to as' '1 u s antives carmot be assimilated, as Heidegger

concept. In:::d~eathem, to ,,:hat Adorno calls the anti-conceptualno accident _ 'the nd the antIapatory echo of Negative DialechcsIS'lle<sed in the dY are aruma ted, because they have been @-their death-lik me_llUl\.Qf tae I~ing, which they are to lead out of;makes sentime::~~ect, Over which the bourgeois spirit habituallyconcepts are ema ament, IS transfigured into a saving quality ...merely subsumin nc:p;~ed from individual experience instead oflanguage in HOld~:lin:78ey become eloquent; hence the primacy of

By this point it rna breplaced the extra ti' Y

fe suspected that Adorno has simply

coooH'd . f. el eggenan themes from the content a

Truth-Content in Music and Litera ture

Holderlin'spoetry with the extraction of his own - Holderlin as aveISe Adorno instead of as a verse Heidegger. It IS here thatlAdorno~wn r ading and concedes that if Hei- ../degger'smethod is simply replace by another method nothin,gwill have been gained. Instead 'Itlhe corrective t? Heldegger smethod should be looked for at the point where Hel?egger breaksoff forthe sake of his thema probandum: in the relatIonshi .Q!Jb£contentincludin the intellectual content, to the orm:79 Accord-inglythe second part of the essay turns to consider formal aspectsof Hiilderlin'swork. Although Adorno concedes that no mvanantdistinctioncan be made between form and content - whatever IS

called form 'is' nothing more than the content, and, convers y, acontentWithoutany form is not thinkagle - he does not think tha~ 1theSeteririScansimply be done away with. Accordingly the ~~conpart of the essay attempts to consider Holderlin's syntax, lctlon

d I fi . Heidegger's inter-an metre - aspects which scarce y gure In . te t ofpretation,which is largely given over to the semantIc con n me IHolderlin'swork _ yet without quarantining these aspects in sorealmofpure form, away from semantic content. cially. Adorno'streatment of Holderlin'e syntax offe~ an ~~s theInterestinginstance QLthis.lbs 2"',enave seen, A om~ciall con-Intellecruarcontent of Holderlin's poetry to be~~~on b:tweencened, like Hegel, with the pOSSIbIlity of a reco~re arul..-llatJ.1Te.If!lI\lversaland particular, and also between cu~. t the subjectsu a reconc ation were simply to be ma e U;h~ mtellectualInatterof a didactic 'poem of ideas', howev:.:-, form. '[t]he logiccontentwould already have been betrayed by t I to the next,?i lightly bounded periods, each moving ri/?orous I~~Ient qualityIS ~cterized by precisely that compulSIve a:hich Hblderlin'Sforwhich poetry is to provide healing an'~d lin's poetry pur-poetry unambiguously negates.'80 Instead, .Ho. er f universal and~ues.theimplicalionsof an idea of a recon~iliatIo:.:: is disruptedby ,/Particular for poetic syntax itself: hypotactIc syn d by juxtapositIOnparatacticsyntax, in which clauses are connecte

ratherthan by syntactical subordina.tion. topped here, ofIf Ad?mo's account of Holderlin's Synt~~d~rnian misunder-

co~, It would perpetuate some very un d m from identItystandings indeed. It would imply that free 0 despite the\thinkingcanbe attained in ~ed realm;f P:'sldentification. ./~ce of systematic SOCIal domInatIon d outside a dialectIC~fW~ further imply that poetic syntax sta;hS an act of will from

enlightenment;that it can set Itself free Wl

I


, its tradition. Adorno's account, however, is more dialectical thanthis:

He began by attacking syntax syntactically; in the spirit of the dialectic,with a venerable artistic technique, the inversion of the penod: In thesame way, Hegel used logic to protest against l?gic. ~e paratactic revoltagainst synthesis attains its limit in the synthetic function of language ~such. What is envisioned is a synthesis of a different kind, languagescritical self-reflection, while language retains synthesis. To destroy theunity of language would constitute an act of violence equivalent to ~eone that unity perpetrates; but Holderlln so transmutes. the form ofunitythat not only is multiplicity reflected within it _ that 15 possible WIthin

traditional synthetic language as well - but in addition the unity in-dicates that it knows itself to be ~~e.81

Hi:ilderlin's syntax could not be a completely new self-sufficientprocedure, any more than twelve-tone musical composition; Itmust proceed through the d terminate ne ation of tradition. 11poetry were to 'destroy the unity of language' _ certain forms of'concrete poetry' in which the semantic dimension of language hasbeen almost entirely liqUidated come to mind _ this would not atall be a 'liberation' from syntax but would only confirm all themore grimly the power of what it intends to resist. The end ofHi:ilderlin's new syntax is held to be, npt the Ii uidation ofS'Lmantic meaning, but arQ:i,illmation of the"possib' ·t;Qf meai,W~ould not be the r~!e.ntless_ subsumption of particulars yuniversals. -

-Hi:ilderIin's syntax, that is, points to the possibility of VQ!l-\coercive affinity between concepts an~ o~jects. As we shall see inIatapter. 7, Adorno takes language itself to be a model for thisyosslbili ty. This IS Wha t Adorno has in mind when he talks of the,:.ema~ci~ in Hi:ilderlin's work,s2 and of the sensethat at times, language itself is speaking' in the work of StefanGeorge83 Or Rudolf Bo.rchardt.84/But thiSTs Possiole as yet only as

ran IllUsIOn, Decause in a systematically coercive world the idea of:n already established Wholly non-coercive sphere of 'language' IS

. dan erous delUSIOn which would merely conceal real coerCIon ItIS Just this ~~'Yir~om &OmaOiirination in art which, as wehave seen; Adorno's aesthetics aims, not to liquidate, but to save.Holderlin s poetry is dOmination of language in the service of thei end of dOmination, not a region of already achieved freedom fromsuch dOmination.

4


Autonomy and heteronomy in literature 7ial tatus of works of artAdornohas much to say about the speCi ti:War about how this

whooemedium is language; and, in par 'of works of art.changes their relation to the idea of the autono:~omy of works ofItwill be remembered that Adorn.o tak~s~:SiS from -aiScursive V

to follow u n the se ar o. ~ti' "'ecomes t e mored thi liena on u ,aIgnItion.The more profoun s ~ ffini with what it refersdiSCiiiSlVec ·tion ust renounce ItS a th ti'c mimesis must

. it the more aes e Ii~tto,anyattemtt e jt: e CI

renounce any discursive element, an . This goes even for. dgements and confine itself to rrumeslS ts as their medium;

, .' 'udgem n IworkSof art w c have discursive J ks f art say is not what /henceAdorno's insistence that 'what war f a poem could never

.. import a atheirwords say:85 The cogmtive .' t since the con-adequatelybe settled simply by. paraphr~:;;~f lart 15eSsential tos~nationof individual elements m t~e w merely empirical mater-~hing of those ele~ents am II ~ial, to their having a cognitive 1m or~ at ~. antic 'content' from""Noris it oossible to e arate out hter~ sen;heallenation of art~=-"- - Adorno's View, c..--- f th mosta literary'form', because, m . ral meaning 0 e

~~owtion affects the supposedly lite arks of art. 'Even th:elemeriliiryJudgements within linguiStiC w alienated in the wor ~copula"is" omnipresent in Trakl's work, IS not any judgement ./

' . .' t expresses, . d ment,ofart fromits conceptual meamng. I ho of such a JU go. '86 Ithat something exists, but the faded ec ina its own nega.$Wh· t

.ta' el I inLo.f...b.el:ll.Uill!" art IS t ativ a tere f h literary wor 0 h ree priceof the autonomization a t be t ken literally, even w e

its semanticcontent can less and les~s e a ~orno crves me exarn-. lisf ne no... - 0- prox- Anthe tic TO rome is a litera snc 0 • hi h appear to ap ~I'"

Wiilliams w c once ~pIeofpoems by William Carlos , . .cal judgements, alityinlate to 'reports on experience': empm a different qu

d,..J:ake on . spheretranslatedto the aesthetic mona ~The work of art~~M thethroughtheir contrast to that mona ed" nothing SI5'~~ 88in which 'nothing can remain unchang , 'de the work of th':;::/ 1

~~:.:.::;.:::::::::::::;;;;,.tiirlTn\.OUtSI haps "~~ \ ~sameas it oes in discursive cogm a , kes what is per al '89 It 1It is in this context that Ado~o ~c ~~~~ous

centralclaim of his poetics, that the;;-&njaInin sma;. not atleJlresentsan oblique comment upo~ 'viJjzation whi IS pleteaphorismthat 'there is no document 0 c~90Adamo is in comthesame time a document of barbansm.


agreement with this claim B t h. fro' . u e wants to prevent falseconclu-:~o~cl-b m be~g drawn from it. In particular, ~barb . eJi..~ so that we could then at least havehonestand ansed~ IS strongly to be resisted. . 'y culture's conce_t

m ration 0 ar arism hil t th 1barbaric do" .' w s emse ves still dependentonit of ill n:u'habon, make It at all possible to imagine thepossibil-<-~=e WIt out barbarism frOli =-=-- '-'.groun so It ~:r' qumate b=-mecttafionon ill,

least..h ,,_ ecep veness, In favour mination" , Ionesr, lS...b baricthe artifice of thou ht a~ e co~sequences run right throughto

yet no artifice of ang kind d of artistic production, since thereis asform of dominati y Th which does not live off and concealsomeholds, indeed nor on! f e claim that 'the barbaric is the literal'the demand that thO Y or ~rt b~t also for discursive cognition.U?bjects, should be e::n~?t s rrumetic moment, its affinitywithitsItS ref rential function ~e ed in favour of ItSpurely !iteralmoment,would capitulate re fulfilled, Adornoms1SfS, ~UTh . -

e consequences of thi thcontent and ideol . I IS ought for the question of the truth-tensive They oglcba content of literary works of art areex'al· can e iIlust t d bterca tion with Luka ra e y considering Adorno'sGottfried Benn: acs over the political import of a poemby

o tha t we were Ourmost prim di~a~~og. / Life and death f o~ral ancestors. / A little bit of slime in a~; . m Our silent juices ; lr .rzatton and giving birth / would slidef WInd and bottom-he . / piece of seaweed or a dune I formedby

o a gull / woutd be tooa? Even the head of a dragonflyor the wingL ' ar and would already feel too much"ukacs takes Benn'

humanism 'th s poem to be ex' .'t ,e Oppositi f pressmg a regressIve anh'o= ~s a SOcialbein;,n92o ",man as animal, as a primeval reality,rea g IS that he takes th Or Adorno, the mistake of Lukacs's

- _ ~ poem literally' /The line '0 daJl . -~ ------==;;rvalue in the Wtr unser Ururahn .. ,grin writt ~oem than it would 'f :n waren, has a completely differentim ulse 0en~to the worc!-1Jn:rnl~;::reSSed a literal wis~.pere is a,ilian mode ~ec _ w . TiI£9.ugh the styliz<ition,theg~ It is rn - .is presented as co .~nr case is old-fashioned raiRerwish hirnselr:lsely the repulsiv;mJc Ii Inauthentic, as a melancholythat empha' ad< to and what qua ty 0 w at the poet pretends toThe SiZes his one cannot· f .ough exag . protest against hi . In act WISh oneself back tomediately asaf~ration,. Benn suspend sto~cally produced suJfering .. 'Ln. his eXCUrsion es to him ... Sirn lifi s ~ e regression that Lukacs jm-

On Benn not onI P . cations like the one Lukacs makesy nusreco .grnze the nuances; along with


the nuances they misrecognize the work of art itself, which becomes aworkof art only by virtue of the nuences.w

Theclosinglines of the passage make it clear that what is at stakehereis the autonomy of the work of art. Lukacs's failure to takeBerm's wishas a gesture rather than a real wish does not only missthe subtletiesof the work of art's e'5EEession,but fails to recognizelienn'spoemas an aUforiomouswork of art at all. What Lukacsteads literallyas a esire for regression to the pre-social, Adornoreadsas an impliCltprotest against socia rg4.uced suffering.e ar s a e cogru on IS not comp ete; and, in ./

particular,litera works of art ha . eliminabl discursivemomen~:'literary compositions ... are both works of art and,becauseof their relatively autonomous discursive component, arenotonlyworksof art and not works of art throughout:94 Literaryworkscan therefore no more be read with cavalier disregard for(their lIteralmeaning than they can successfully be read with sheer ,hter~mindedness.Confronted with this later thought, Adorno'sownreadingofBerm's poem looks one-sidedly anti-literal - almostasthough~nywish or hope, no matter how unpromising in itself,can through the transformative autonomy of the work of artbecomeautopian protest. In Aesthetic Theory Adorno develops thethoughtthat there might today be a j2articular timeliness in thehybndcharacterof litera works of art. As we have seen, Adorno)arguest a au onomous works of art are increasingly driven toexposetheirdependence on a heteronomous moment: 'A,t present v'art ISat itsmost vital when it corrodes its cove!:.con~ep!. In suChcorrosionit is true to itse1I, an inlriilgement- of the mimetic taboo0n..llieim ure or th . :95 oe ry w c s s. emand~Oldsliteralreference arid artific in tension, without capItulating ./o~ ~iqui ate one in ~our of the oili~r96_

It will havebecomeclear by now that both Adorno's social theoryandhis h' . . t d to his broader. aest ebc theory are mtimately connec e .philosophicalthought especially as that thought 15 related t~claSSicalGermanphilo~ophy (above all, Kant an? Hegel). We m~nowmove, in the final three chapters of this book, to a hconsIderationof Adorno's relation to classical German philosoP Yandofhowfar his criticisms of that tradition can be Justified.

Notes to pp. 104--117

53 Doryck Cooke. TN UmgJUlg' of Music (Oxford: 0xf0nI Uniftnily l\a._)AT, P 37; HulJot-Kentor, p. 20.

55 AT. p. 193; HuIJot-Kentor, p. 127.56 AT, P 194; Hullot-Kentor, p. 128.!II AT, p. 198; HulJot·Kentor, p. 131.

AT, P 199; Hullot-Kentor, p. 131." AT, p. 194; HuUol-Kentor, p. 128.eo AT. p. 200; HulJol-Kentor, p. 133.61 AT. p. 37; HuUol-Kentor, p. 20. 0. Bedhouen. ed. Rolf 1ledemann (JllIlluhIbmp, 1993), p. 32: 'music is the logic of syn_ without I~enl.'

62 PMiI, p. 40" PraM, pp. 40-1.

AT. p. 273; HulJol-Kenlor, p. 183.15 ~. In Qruui U/lII F.nlosia, tr. Livingstone, pp. 201-24, p. 21~fa

.......... dlscuasion of this problem.66 AT. p. 266; HulJol-Kentor, p. 178.67 AT. p. 222; HulJol-Kentor, p. 148... AT. p. 358; HulJol-Kenlor, p. 241.., AT. p. 12; HulJol-Kentor, p. 3.ft! A2; pp. 11, 12; HulJol-Kentor, p. 3.~ AT. p. 82; HulJol-Kenlor, pp. 50-1.AT. p, 9; HulJol-Kenlor, p. 1.AT, p. 280; HulJoI-Kentor p 188AaNchI WeIIane. "....... ' 'lhalh, Semblance Reconciliation. Adorno'. A.......'" ......./.'t:. of Modernity', Thies 62 <1984-5), 89-115, p. 110.=~ pp. 102-3.-..p.109.:::.P.106.IIIId.. p. 109.c.,,· ,....

p.110.Bubner 'Ober " Bedin ,~ ...{ar Phi/osqph' euuge gungen gegenwirtiger ""'-lion', p. 109. Ie 5 (1973), 38-73; cE. Wellmer, 'Trulb, SembIJI"t

Po 397; Ashton. pp. 405-6199; HulJol-Keaitor, p. i32.

p. 162 (8 Januauy 1963 . .on: Geo All ), G. W. F. Hegl!I, Science of Logic, tr. A \

96; HuJJoI-~r. p"';: UnWin, 1969), p.469.6C; Hultot-Kento: . I~'33Hl; HuItol_~ w.; HuI1ot-I<entor pp. 225-8.; HuIIot-v _<. ,p. 228.

-mor, p. 227.

Notes to pp. 117-126 24594 Kant, Groundwork of the Metaphysic of Morals, tr. H. J. Paton (New York:Harper & Row, 1964), p. 102 .

ss AT, p. 335; Hullct-Kentor; p. 226.96 AT, p. 351; Hullot-Kentor, p. 236.'17 'Zur gesellschaftlichen Lage der Musik' (1932), in Mllsikalische Schriften V,

GS 18, p. 757.98 AT, p. 351; Hullot-Kentor; p. 236.99 Ibid.100 Ibid.101 Ibid.:~ AT, p. 358; Hullot-Kentor; p. 241.IIll AT, p. 351; Hullot-Kentor; p. 236.lOSAT, p. 347; Hullot-Kentor; p. 234.106~" W. F. Hegel, Aesthetics, tr. Knox, vol. I, p. 504.107 ~d.,pp, 517-29.

IbId., p. 576.1 Cf. Gillian Rose Hegel contra Sociology (London: Athlone, 1981), pp.

121-48 '109 . .110~~ Kunst und die Kunste', p. 436 .111 'let lo.ven, p. 72 .112ATmlUlsky',in Quasi uua Fantasia, tr. Livingstone, pp. 111-29, p. 113.113 'E' p. 19; Hullot-Kentor, p. 8. ..114A;gagelhent', in NzL, pp. 409-30, p. 417; Nicholsen, 11. 83.liS AT Pp. 54-.5, 123; Hullot-Kentor, pp. 32, 79.116 Ibi;t 358; I-iullot-Kentor, p. 241.117 AT .118 AT Pp. 358-9; Hullot-Kentor, p. 241.119 AT p. 342; I-iullot-Kentor, p. 230.120AT p. 53; I-iullot-Kentor, p. 31.121 AT p. 342; I-iullot-Kentor, p. 230.

'Pp. 137-8; Hullot-Kentor, p. 89.

Chapter 5 Truth.Content in Music and Literature

1 'Dip'e Kunst d d' K" t' m' GS 10 l' Kllltllrkritik lind GesellsclJaft I:'Jsrnett ttn Ie uns e , . .~ "T: Pp '101lne Lei/bi/d, pp. 432-53, p. 432.V"""c1; "bl-4; Hullot-Kentor, pp. 91-{48 92-108' In Search of Wagner,

{ 1>. ROdn" er Wagner, in GS 13, pp. 7- L' h~ooks 198]) pp. 97-113.S 1Jie J( ey Livingstone (London: New e , ,6 ~T:p. ~nsl "nd dUe Kunste', p. 437.7 """Ch .~; l-lullot-Kentor, p. 175.'Die K Qber Wagner, p. 26; Livingstone, p. 28.<::r .• in"l1st UnQ dUe Kiinste', p. 433. . e der Musik' [1932], in~I<si.. l'\rt:icular, 'Zur gesellschaftliC';:~.,r'?& the Social Situation of

9 'l\Jsic (ISche Schriften V, GS 18, pp. 72 ,l"'r "'0 93~)" Telos 35 (1978), 128-M· . Sziborsky, Adornos MIIsikph~-~h;e ~~?Jl1prehensive acco~~J ~7~~Cl:nd Max Paddison, Adornos. ""theli <V'''nich: Wilhelm Fl , b 'd' University Press. 1993).

Cs Of Music (Cambridge: Cam n ge

246 Notes to pp. 126-135

10 Cf 'Der Essay als Form', in NzL, pp. 9-33, p. 17; Nicholsen, i 10.II Beethouen, ed. Rolf TIedemann (FfM: Suhrkamp, 1993), pp. 36, 45,

99-100.12 f Mnhler. fine musiknlische Physiognomik, in GS 13, pp. 149-319,p. 192;

Jephcott, p. 43.13 Rudlg r Bubner, 'Kann Theone asthetisch werden?', in Burkhardt Lindner

and W. Martin Ludke, eds, Materialen zur dsihetischen Theorie TheodcrrW.Adamas (FfM: Suhrkamp, 1985), pp. 108-37.

14 'Music and Language: A Fragment', in Quasi una Fantasm, tr, RodneyLivingst ne (London: Verso, 1992), pp. 1--6, p. 1.

IS Ibid.16 Ibid., p. 2.17 0, p. 44; Ashton, pp. 33-4.I Beetllovell, p. 39.19 PhT, 1, pp. 2Hl (10 May 1962).20 Beethoue», p. 31.21 OS, p. 124; icholsen, p, 136.22 ike/hOlIen, p. 61.23 Ibid., p. 87.24 Ibid., p. SO.2S Ibid., pp. 99-100.26 lbld., p. 40.27 Ibid.28 fbid., p, 26. CE. 'Beethovens Spats til', in Moments musicaux: rlell aufgedmckte29 Allfsiitze, GS 17, pp. 13-17. .

Bf. 'Der getreue Korrepetilor', in GS 15 pp. 251-368' Alban Berg, tr. julianerandadChris . ' '.,1991) n topher Hailey (Cambridge: Cambridge UruversltyPress,

, pp. 35-135.30 AT, p. 269; HuJJot-Kenlor, p. 180.31 AT, p. 270; Hullot-Kentor p 18032 'Der Essa aIs F ' ,. .33 'Bach Y orm , m NzL, p 24; Nicholsen I, p. 16

Gesell fe~en seme Liebhaber verteidlgf in GS 10 I Killtilrkrilik IIl1d34 'Bach~;a l~i/~~38-51, P 138, Weber, p. '135.35 'Bach:' , e er, p. 13636 'Ba : pp. 144-7; Weber, pp 142-537 'BaCh: p. 142; Weber, p 140. .38 'Ba0:;: p 143; Weber, p. 139

c ,p. 144; Weber p 14039 Adorno never co i' I

which was t h mp eted his plarmed 'Theory of MUSIcalReproduchon,o ave o-i hi 'ZUIgeseUschafWchen O' ven s theory of performance, d however,

(1932), pp. 729--77. \,;ge der Musik', m GS 18. MUSlkali.sche Schriftell V40 Horkheimer to Ad . Reproduktion, Konsum' (pp 753-77)

Frankfurt School Ir°":' 28 August 1941, quoted m Rolf Wlggershaus,~41 p. 298; PIIM, p. 11' chael Robertson (Cambridge. Polity Press, 1993,

H. H. Stuckenschmid 45(934),301-11 I, 'Das ZWOlftonsystem' Der nelle Rundsciull/G' ,Theodor Adorno a d Epp. 52-6. n rnst Krenek, Briefwechsei (FfM: Suhrkamp, 1974),

Notes to pp. 135-144 247

~ Schonbergs Blaserquintett', in GS 17: Mlisikniische SciJriften rv, pp. 140-4,\c: pl40. -;7'44 PnM, p. 70.45 PnM, pp. 65-8.46 PIIM,p. 63.47 Ibid.48 Ibid.49Ct. especially, 'Vers une musique informelle', in Quasi una Fantasia, tr.

Livingstone, pp. 269-322.50 'Bach',p. 144; Weber, p. 140.51 PIIM,pp. 70-1.52 PnM, pp. 171-4.53 PIIM, pp. 15D-1.54 PnM, pp. 187-9. . .55 Cf. especially, 'Stravinsky: A Dialectical Portrait', in QuaSI una Fantasia, tr.

Livingstone, pp. 145-75.56 'Zur gesellschaftlichen Lege der Musik', p. 743.57 PnM, p. 191.58 PIIM, pp. 154-7. . . . . d Shar-59 For a partially parodic example of such gTld-cntia~m,see ~ema:

ratt, Reading Relations: Structures of Literary Production. A Dlalecflcal Text/Book (Brighton: Harvester, 1982), pp. 57-92.. .

6D 'Der Essay als Form', in NzL, pp. 9-33, p. 17; Nicholsen, I, p. 10.61 'Der Essay als Form', p. 17; Nicholsen, I, p. 9.62 'Der Essay als Form', p. 22; Nicholsen, I, p. 14.63 'Der Essay a1s Form', p. 24; Nicholsen, I, p. 16. d64 'Zu einem Portrat Thomas Manns', III NzL, pp. 335-44, p. 336; 'Towar a

Portrait of Thomas Mann'; Nicholsen, ii, p. 13.65 'Bach', p. 149; Weber, p. 144. 6' 'Th H elle66 'Henkel, Krug und Whe Erfahrung', in NzL, 556--66, p. 55, e an ,

the Pot and Early Experie~ce'I ..Nich~ls~n~ 11,p. 211. 447-91" Nicholsen, ii,67 'Paralaxis. Zur spaten Lynk Holderlins , m NzL, pp. ,

pp. 109--49.68 'Parataxis', p. 451; Nicholsen, ii, p. 112.69 'Parataxis', p. 452; Nicholsen, ii, p. 113.70 'Paralaxis', p. 459; Nicholsen, ii, p. 119.71 'Parataxis', p. 462; Nicholsen, ii, p. 122.72 'Parataxis', p. 455; Nicholsen, ii, p. 116.73 'Parataxis', p. 468; Nicholsen, ii, p. 128.74 'Parataxis', p. 464; Nicholsen, ii' p. 124.75 'Parataxis', p. 466; Nicholsen, ll, p. 126.76 Ibid.77 'Parataxis', p. 465; Nicholsen, ii, p. 128.78 'Parataxis', p. 466; Nicholsen, ll, p'. 126.79 'Parataxis', pp. 468-9; Nichols"", ll, p. 128.80 'Parataxis', p. 476; Nicholsen, ll, p ..135.81 'Parataxis', pp. 476-7; Nicholsen, ll, p. 136.82 'Parataxis', p. 475; Nicholsen, ll, p. 135: 1 .. P 17ll-92, p. 185.83 'George', in NzL, pp. 521-35, p. 529; Nlcho sen, u, P .

248 Notes to pp. 144-150

84 'Die beochworene Sprache', in NzL, pp. 536-55, p. 549; Nicholsen, ~pp. 193-210, p. 205.

85 AT, p. 274; Hullot-Kentor, p. 184.86 AT, p. 187; Hullot-Kentor, p. 123.87 Ibid.88 AT, pp. 186-8; Hullot-Kentor, pp. 122-3.89 AT, p. 'n; Hullot-Kentor, p. 61.90 Walter Benjamin, Th eses on the Philosophy of History', in muw_

ed. Hannah Arendt, tr. Harry Zohn <London: Fontana, 1973),pp.26-55.p.248.91 '&preS.., Vers6hnung', in NzL, pp. 251-80, p. 271; Nicholsen, iI.

pp. 216-40, p. 233.92 Georg LuklIcs, The Meaning of Contemporary Realism, lr. J. and N. Mander

<London: Merlin, 1962), p. 32.:: ~;:;'Vers6hnung" pp. 272-3; Nicholsen, I, p. 234.

n , p. ~,.; Hullot-Kentor, p. 182.95 AT, p. 271; Hullot-Kentor, p. 182.96 CWrif.S. Jarvts, 'Soteriology and reciprocity' Parataxis' Modernismand ModtnIhng 5 (1993), 30-9. ,.

Chapter 6 Negative Dialectic aa MetacritiqueI Wilhid Sellars 'Em . . .5hu/ies . '. P1l1C1Smand the Philosophy of Mind' in Min_CDn«pt;n~~ P'::J:,,/,,,,hyof Science, vol. I: The Foundations of Science .rulthrScriven lMinnSY ':f! UandPsychoanalysis, ed. Herbert Feigl and Michaelp. 253. eapo. ruVerslty of Minnesota Press, 1956), pp. 253-329.

2 0. John McDowell, M'ndversity Press, 1994). ' and World (Cambridge, Mass.: Harvanl V...

3 G. W. " Hegel, Phen IUniversity Press 1977)<nnenoogy of Spirit, tr. A. V. Miller (Oxford: Oxfonl

4 '"'" 'crisis' ' , pp. 351-2.and by Ado:;': ~ ":J:'" such by German thinkers from about 1m.~tht:aisis in science In 1SCUsslOns ~th Horkheimer's Frankfurt cirdt:indiVidual disciplines ~ essentially from the incapacity 01 Iht~ instead onl ~ve an .epitome of the whole of a~·.the whole of our exist~.t~grulions which are without relations toheimer, Gesammelte Schr/; okoUe und Diskussionen', in Max Hart<·Schmidt and Gunzelin ~~2~ Nachgelassene Schriflen 1931-49, ed. AIh<dfor German in..,Uectuals oerr (PfM: Fischer, 1985), p. 358.The crisl>mtz. K. Rin- 'Mo. n"I' was an econonuc as well as an inteUectuaI _r_ . 0-' "'" <JOe 'ne Of the r_.. u... . .~mmu .. ty, 1890-1933 (Camb'd ~'fflQn mURdanns: The German A_

S 1969), pp. 295, 61-80, 254-434 n ge, Mass.: Harvard University """"NO, p. 64; Ashton, p 54 .6 Com ..-'.. pare another Version of this ' ....., Kultur', in Prismen (P/M. S:eslion m 'Thorstein Veblens Angrill.ul::: ~Ie as Such?' and''BinI kamtungP'1955), p. 110: 'How is somet1un8

~hien " in GS 8' Soz' ... zu Emile Durkheim, "Soziolog>tpp. 26-79, p. 274. . IOlogIscheSchriften I (PfM: Suhrkamp, 19721.

Notes to pp. 150-156 249

7 Ct. Josef Fruchtl, 'Zeit und Erlahrung. Adomos Revision der RevisionHeideggers', in Marlin Heidegger: lnnen- und AuftenanSlchten, ed. Forum filrPhilosophie Bad Homburg (FIM: Suhrkamp, 1989), pp. 291-312, pp.

8 ~'Tradition" in GS 10.1: Ku/turkritik und Geseltschaft [(FIM: Suhrkamp,1977). pp. 31G-20, pp. 314-15.

9 NO. p. 10; Ashton, p. xx.10 NO, p. 61; Ashton, p. 55.II NO, p. 9; Ashton, p. xix. , . . 1612'Spatkapitalismus oder Industriegesellschaft? Einleitungsvortrag zum .Deutschen Soziologentag, in GS 8, pp. 354-70, pp. 364-5.

13 NO, p. 66; Ashton, p. 56.14 NO, pp. 197-8; Ashton, pp. 197-8. . lor a15 ND, p. 198; Ashton, p. 198. For one of the earli~t a~e~t~terestdistinctionbetween a sociology of ~~wledge andd~~~a~~hThZry'(1937)in 'truth-content', s~ H. ~rcuse, Philosophy an ha ito (Boston: Beaconin Negations: Essays En Critical Theory, tr. Jeremy J. 5 PPress, 1968), pp. 134-57, pp. 147-8.

16 NO. p. 139; Ashton, p. 135.17NO, p. 381; Ashton, p. 388. 79-81' Cumming, pp. 242-4.18 ME,pp. 49-51; Domingo, pp. 42-4. DA, pp ..2 The Present Situation 01N~, p. 263; ~shton, p. 266: Cf. Max ~~rkJ:~~~ce;Selected Early Writings,Philosophy', in Between Philosophy on oc,a dJ hn Torpey (Cambridge,tr. G. Frederick Hunter, Matth~w S. Kr~~ an 0

Mass.: MIT Press, 1993), pp. I 14, PPd' th Spirit 0' Capitalism, lr. Talcott19 Max Weber, The Protestant E~hlc an . e 29 J

Parsons (London: Harper Collins, 1991), p. .10 NO, p. 10; Ashton, p. xx.21 NO, p. 205; Ashton, p. 205. A aillst Epistemotogy is Zur22 The German title of the work translated a~ raCritique of Epistemology).Mttakritik der Erkenntnistheorie (Towards a ek t be called The Phenom-Adorno, however, had initially wanted t~e w.or 19~5to subtitle the worktnologicalAntinomies; Adorno wa~ pl~;g ~n I p 47. The final title was'Prolegomena to a Dialectic~l LOgIC': Brl;86e~~: ~ discussion of the title ofa compromise with the publtsher. GS 5, .this book see VEET, p. 18. ..' Ice ed. J. Nadler (Vienna:

2J J. G. Hamann, 'Metakritik', in ~amtllc.::n~e: ~ 1784, but not publishedHerder, 1949·57), vol. 3. The wor wasunlill800.

~lKemp Smith, p. 283; KrV A 271/8 327. he~ Ibid. il' Pretude to a Philosophy at t.¥ Friedrich Nietzsche, Beyond Good an~s~ortJ,: Penguin, 1990), p. 51: It IS

Fu/ure,lr. R. J. Hollingdale (Han::.:. 'we alone who have fabt:!£ated:ca: . . . , .

'(J Kemp Smith, p. 27; KTV 8 XXVlE'T: 50 'Der Essay aIs Form, III NzL, pp.

18 NO, p. 383; Ashton, p.391. VE ,p. .9-13, p. 17; Nicholsen I, p. 10hT: .. P 98 (4 December 1962~t' nalilii/ des

19 NO, p. 379; Ashton, p. 386. ~. 't I~ik' und Erfahrullg. Zur 1030 Ct. Anke Thyen, Negallve(F~eSuhrkamp, 1989).Nichtidentischen bel Adorno .

260 Notes to pp. 222-231

24 Albrecht Wellmer, 'Wahrheit, Schein, Versohnung. Adornos asthetischeRettung der Modernitat', in 2ur Dialektik von Moderne und Postmodene.Vmllillftkntik nach Adamo (FfM: Suhrkamp, 1985), pp. 9-47, P: 19.'Truth,mblance. Reconciliation', tr. Maeve Cooke, Telos 62 (j985), pp. 90-115.

25 'Ole Idee der aturgeschichte', in GS 1, pp. 345-65, p. 354;The Ideaofalural History' (1932), Telos 60 (1984), 111-24, p. 117.

26 Jacques Derrida, Given Time, vol. 1: Counterfeit Money, tr, Peggy Kamuf(Chicago: University of Chicago Press, 1992), pp. 6-33; Glas, tr. JohnP.Leav y Jr. and Richard Rand (LincoLn: University of Nebraska Press, 1986),pp.242ff; Tire Tmth in Painting, tr. Geoffrey Bennington and Ian Mcleod(Chicago: University of Chicago Press, 1987), pp. 291-2; SpectersofMorx,tr.Peggy Kamuf (London: Routledge, 1994), p. 27.

27 Derrida, "The Politics of Friendship', The ]oumal of Philosophy, vol. 85, no.11( overnber 1988), 632-44.

28 Derrida, Psyche: lnuentums de l'Autre (Paris: Galilee, 1987),P: 16329 "The Politics of Friendship', 632-4.30 Ibid.31 ND, p. 263; Ashton, p. 266.32 Max Horkheimer, 'Materialism and Metaphysics', in Critical Theory:

Selected Essays, IT. Matthew J. O'Connell et al. (New York:Continuum,19 2), pp. 10-46.

33 C. 'OiskussionsprotokoUe' in Max Horkheimer Gesammelte Schrijtefll vol.12, ed. Gunzelin Schmid Noerr and Alfred Schmidt (FfM:Fischer,1985),pp.476-83.

34 f. Das Uller.~liirt Modeme: Berlil1er Adorno- Tagung, ed. Frithjof Hager and35 ~ nnann Pfutze (Liineburg: zu Klampen, 1990).

36 NaDbermas, Theory of Communicative Action, vol. 1, p. 385., pp. 27-9; Ashton pp 15-1837 Gilli ' ,. . .

Mod an Rose, . From Speculative to Dialectical Thinking' in JudO/smandchae~n.;.;:~: Pllliosophicat Essays (Oxford: Blackwell, 1993), pp. 53-03;Mi·Traktnt (Ber~~en, Hegels Lehre Dam absoluten Geist als theologlSch-polltlScherthe affinity l:;~e ~yter, 1970), p. 32. Other commentators have regard~Bowie Shit· elling as redounding to Adorno's credit: d. Andre"I993),'p. ~~. mg and Modern European Philosophy (London: Routledge,

38 Cf. Anke Thyen N . . ... d-NichtidentiSCl b'. egatJve Dmlektik und Erfahnmg. Zur Rationahfat esniskritik IIn/~:~ :; Adorno (FfM: 5uhrkamp, 1989); Ulrich MiiIler, Erk£!ml-ReJlektierlheit (F~ .I~ Metaphysik bei Adorno. Eine Philosophie der dnffea

39 ND, p. 29· Asht . thenaum, 1988).40 Thyen N; at' on,. pp. 17-18.41 Adom'o togH~~~:;;::ktik lind Erfahrung, p. 165.

Frankfurt Schoot IT ;:; 20 October 1952. Quoted in Rolf WiggershaUS,~p. 456. ,. chael Robertson (Cambridge: Polity Press, 1993,

~ ~' p. 381; Ashton, p. 358., p. 100; Ashton p 93 F rth,

The PrelUde: A ParafIel'Tj . or the verses quoted, see William Wordswo kx, II. 813-14). ext, ed.). C. Maxwell (pp. 446-S) (1805-6text,boO

Bibliography

This bibliography is selective. It includes only books and articles cited in thet~xt.and a few other works which may be of further help. For largerbibliographiessee Rene Cortzen, 'Theodor W. Adorno. Vorlaufige Bibliogra-phie seiner Schriften und der Sekundarliteratur', in Ludwig von Friedeburgand Iurgen Habermas, eds, Adomo-Konierenz 1983 (FfM: Suhrkamp, 1983),pp. 402-71; Klaus Schultz, 'Vorliiufige Bibliographie der Schriften TheodorW. Adomos' in Hermann Schweppenhauser, ed., Theodor W. Adorno ZUni

Gediichtnis (FfM: Suhrkamp, 1971), pp. 177-242; Peter Christian Lang,'CommentierteAuswaWsbibliographie 1969-1979', in Burkhardt Lindner andW. Martin Ludke, eds, Materialien zur ttsthetischen Theone Theodor W. Adornoe(FfM:Suhrkamp, 1980), pp. 509-56.

Works by Adorno

GesammetteSchriften (23 vols, FfM: Suhrkamp, 1970-). Volumes are edited by~olfTIedemann except where otherwise indicated. The d~te~ffirs~pUbhC:~ticn (or completion for previously unpublished works) 15 gIven m squabrackets.

~ (1973)Philosophische Friihschrif/en .' .. _Die Transzendenz des Dinglichen und NoematiSchen m Husserls Phanomenologie' [1924] ,

'DerBegriffdes UnbewuIlten in der transzendentalen Seelenlehre [1927]'DieAktualitiit der Philosophie' [1931]'DieIdee der Naturgeschichte' [19321Thesen uber die 5prache des philosophen' [early 1930s]2 (1979)Kierkeganrd. KOllstruktion des Asthetlschen [193313 (1981)(with Max Horkheimer) Dialektik der Aufkliirung [1944]4 (1980)Minima MoraUa. ReJlexionen aus dem besclJiidi~en .Leben [1951lllnd dieS (]971) 211r Metakritik der Erkenntnlstheorre. Studren IIber Husserp'!"nomenologischen Antinomien [1956]

DrerStudien zu Hegel [1963]

262 Bibliography

6 (1973) Negative Dialektik (1966)Jargoll der Eigenilichkeit, Zur deutscnen Iaeotogie [1964)7 (1970) Astl.etische Theone [1970)8 (1972) Soziologische Schriftell I [various]9.1 (1975) Soziologische Schriften II. Erste Halfte'The Psychological Technique of Martin Luther Thomas's Radio Addresses'

(1943)StudIes in the Authoritarian Personality [1950]9.2 (975) Soziologisch« Schriften TJ. Zweite HalfteTIre Stars dOWII to Earth [1957JSclrutd lII.d Abwelrr [1955J10.1 09m Kulturkritik und Gesellsclraft IPrismen (1955)Olll.e Leitbild. Paroa Aesihetica [1967]10.2 09m Kulturkritik lind Gesellsd.aft TJEingr.ffe 11963JSlid.worte [1969]11 (974) Noren ZlIr Litemtur [1958; 1961; 1965]12 (975) Philosophie der neuen Mllsik [1949]13 (973) Die musikaiischen MonographienVerslld. ilber Wagner f1952]Berg. Der Meislerdes Kleinsten abergallgs [1968]Mahler. Eme ntusiknlische Pirysiogllolllik [1960)14 (973) Dissonanzen [1956]Eiuleitrmg in die Musiksoziologie [1962115 (976) Kamposilioll iur dell Film [1944' 1969]Der getrelle Korrepetitor [1963) ,16 (1979) Mllsikatiscire SChriften ILlKlallgfigllrell [1959JQuas; una Fantasia [1963]17 (982) Mllsikaliscire SClrriflell IVMome"ts Mllsicaux f1964]ImpromptllS [1968]18(984) Musikalisclre SChriflen V [va' ]19 (984) Mllsikalisd.e Schriften VI [ nous]20.1 (986) Vermisclrte SChriftell I [ vanojs20.2 (1986) Vermischte Schrift-en II [:a~:s]The follOwing texts of I

are those so far aVail~ courses, correspondence and unfinished works

Beethovell: Philosophie de M 'kS~hrkamp, 1993) r liS•. Fragmente IIl1d Texte, ed. Rolf Tiedemann (FfM:

Erz,ehung Zur Miindigkeit Vi o.

ed. Cerd Kadelbach (FiMo~rage IIl1d Gesprache mit Hellmut Becker, 1959-69,Plulosophische Terminolog' <FfMuhrkamp, 1970)(with Walter Ben'a . Ie. : Suhrkamp, 1973-4)!<amp, 1994); jansm: Brreftcechsel 1928-1940, ed. Henri Lonitz (FfM: Suhr-

(with Alfred Sohn-R on forthcoming (Cambridge: Polity Press)<Munich: Editio ~ ethel) Brleftcechsel 1936-1969, ed. Christoph Gadde

n .ext und Kritik, 1991)

Bibliography 263

(with Emst Krenek) Theodor W. Adorno und Ernst Krenek. Brieftcechse/, ed.WoUgangRogge (FfM: Suhrkamp, 1974)

Vorlesungenzur Asthetik 1967-8 (Zurich: H. Mayer Nachfolger, 1973)Vorlesungzllr Einleitung in die Erkenntnistheorie 1957-58 (FfM: Junius, n.d.)Vor/esungzur Einleitung ill die Soziologie (FfM: [unius, 1973)

Translations and Publications in English

AestheticTheory, tr. C. Lenhardt (London: Routledge, 1984) (This translation isunreliableand has been withdrawn by the publishers)

Aesthetic Theory, tr. Robert Hullot-Kentor (London: Athlone, 1997)Against Epistem%gy, tr. Willis Domingo (Oxford: Blackwell, 1982)Alball8erg:Master of the Smallest Link, tr. Juliane Brand and Christopher Hailey(Cambridge:Cambridge University Press, 1991)

Aspects of Sociology, tr. John Viertel (Boston: Beacon Press, 1972)(with Else Funkel-Brunswtk, Daniel J. Levinson and R. Nevitt Sanford, incollaboration with Betty Aron, Maria Hertz Levinson and William Morr~w)The Authoritarian Persollalily (New York: Harper, 1950 (Studies in Prejudice,vol.1»

(with Hanns Eisler) Composing for Films, ed. Graham McCann (London:AthIone,1994)

The Culture Industry: Selected Essays on Mass Culture, ed. ]. M. Bernstein(London:Routledge, 1991) .

(WIth Max Horkheimer) Dialectic of Enlightenment, tr. John Cummmg (NewYork:Seabury Press, 1972)

Heget: Three Studies, tr. Shierry Weber Nicholsen (Cambridge, Mass.: MITPress, 1993)

In Searchof Wagner, tr. Rodney Livingstone (London: Verso, 1981)Introduction 10 the Sociology of MIISic,tr. E. B. Ashton (New York: Seabury Press,1976)

The Jargon of Allihenticity, tr. Knut Tarnowski and Frederic Will (London:Routledge,1973) . lis'

KierkegQard:Construction of the Aesthetic, IT.Robert Hullot-Kentor (Minneapo .Univomityof Minnesota Press, 1989) . i of

Milhler:A Mllsical Physiognomy, tr. E. F. N. Jephcott (Chicago: Drovers tyChicagoPress, 1992)

Minima Mora/ia, tr. E. F. N. Jephcott (London: New Left Books, 1974)Negative Dialeclics, tr. E. B. Ashton (London: Routledge, 1973) Y k: ColumbiaNotes.t0 Literature, tr. Shierry Weber Nicholsen (2 vals, New or.UruversityPress, 1991-2) . Wesle V. BJomster

The Ph.losophy of Modem Music, tr. Anne G. Mitchell and Y(New.York:Seabury Press, 1973) . and David Frisby

The Posr!.o.sl Dispute in Gemlall SOCIOlogy, tr. Glyn Adey(London:Heinemann, 1976) . . MIT Press, 1981)

Pnsms, tr. Samuel and Shierry Weber (Cambndge, M:ssiiVingstone (London:Quas, una Fantasia: Essays on Modern MustC, tr. Rodn yVerso,1992) . I'n Cultllre ed. Stephen

The Stars down to Earth and other Essays 011 the Irrahona I I

Crook<London: Routledge, 1994)

264 Bibliography

Articles in English and Translations into English

Only those articles which are not more conveniently available in collectionsare listed here.

'Th Actuality of Philosophy', Telos 31 (977), 12(}-33'Alienated Masterpiece: The Missa Solemnis' (959), Telos 28 (1976),11~24, ontemporary German Sociology', in Transactions of the Fourth World Congressof Sociology (London: International Sociological Association, 19S9),vol. 1,pp.33-56

'Education for Autonomy' 0%9) (with HeIlmut Becker), Telos S5-<;(1983),1m-10

'Functionalism Today', Oppositions 17 (979), 31-41'Goldmann and Adorno: To Describe, Understand and Explain' (1968),inLucien Goldmann, Cultural Creation in Modern Society, tr. Bart Grahl (Oxford:Blackwell, 1976), pp. 129-45

'The Idea of Natural History' (932), Telos 60 (984), 111-24"ls Marx Obsolete?', Diogenes 64 0%8), 1-16 (tr, of 'SpiitkapitaIismus oderlndustriegeseUschaft?')

'Jazz', in Ellryc/opaedia of the Arts, ed. Dagobert D. Runes and Harry G.Schrickel (New York: Philosophical Library, 1946), pp. 511-13

'Music and Technique' (958), Telos 32 (977), 79-94'MUSICand the New Music: In Memory of Peter Suhrkamp' (1960),Telos43(980), 12+..38ew Music and the Public: Some Problems of Interpretation' (1957), inTwelllJeth-Celltury MUSIC, ed. Rollo H. Myers (London: Calder and Boyars.1968), pp. ~74

'Of Barricades and Ivory Towers: An Interview with T W Adorno' Encounter33 (3) 0 %9), ~9 .. ,'OnsPopular Music' (with George Simpson) Studies in Philosophy ond Social

cretrce 9 (1949), 17-48 ''On the Historical Adeq f C' . lberg)Telos 56 (983), 97-103 uaey 0 onscrousness' (with Peter von Hase ,

'~~~~estion: ''What is German?'" (965), New German Critique 36 (1985),'On the Social Situ .'P ' Th '. anon of Music' (932), Telos 35 (978), 128-Mrogress: e PhIlosophIcal Forum 15 0983-4) 55-70

'The Radio Sympho . An Expe . ,Paul F Lazaisfel ny. riment in Theory', in RJulio Research 1941,ed.Pearee: 1941), 11~3;nd Frank N. Stanton (New York: Duell, Sloan and

'Resignation', Telos 35 (978), 165-8ReVIew of lean Wahl £t d .The Journals of s' u es Klerkegaardimnes; Walter Lowrie, Kierkegaard;and(941), 167-78 oren Klerkegaard, Studies in Philosophy and Social Sci"'ce 9

'Scientific Experiences of a E .Perspet;tives in American Huropean Scholar in America', tr. Donald F1emmg,and Bernard Bail /Story 2 (968), 333-70; repro in Donald F1emmg1930-1960 (Carnb~' ~s, The Intellectual Migration: Europe and AmenCfl,pp. 338-70 g , Mass.: Belknap Press/Harvard University Press),

'Sociely' (1966), Salmagundi 10-11 0969-70), 14+-53

Bibliography 265'Sociologyand Psychology', New Left Reoieur 46 (967), 63--80; 47 (968),79-97

The Sociology of Knowledge and its Consciousness', in Andrew Arato andEike Gebhardt, eds, The Essential Frankfurt School Reader, pp. 452-65

'SpenglerToday', Siudies in Philosophy and SociJ11Science 9 (941), 305-25"'Static" and "Dynamic" as Sociological Categories' (1956), Diogmes 33(1%1),28-49

'Subjectand Object' (1%9), in Andrew Arato and Eike Gebhardt, eds, TheEssenlul1Frankfurt School Reader, (New York: Urizen Books, 1978), pp.497-511

Thesesagainst Occultism', Telos 19 (1951), 7-12Theses on the Sociology of Art' (967), Working Papers in Cultural Studies 2(8irmingham, 1972), 121--8

Wagner,Nietzsche and Hitler' (review), Kenyon Review 9 0) (947), 165--72

General Bibliography

Ahlers, Rolf, 'Endlichkeit und absoluter Geist in Hegels Philosophie", Zeits-chriftfUr philosophische Forschung 29 (975), 63--80

-, The Overcoming of Critical Theory in the Hegelian Unity of Theoryand Praxis', Clio 8 (l) (1978), 71-96 .

Allison, Henry, Kant's Transcendental Idealism (New Haven, Conn.: Yale Uni-versityPress, 1982) . .

-, Kant's Theory of Freedom (Cambridge: Cambridge University Press,1990)

Arato,Andrew, and Eike Gebhardt, eds, The Essential Frankfurt School Reader(NewYork:Urizen Books, 1978) . .

Arlt,Gerhard, 'Erkenntnistheorie und Gesellschaftskritik', Philosophisches [ahr-buch90 (1983), 129-45 .. .

Arnold,Heinz-Ludwig, ed., Theodor W. Adorno (Munich: Text und Kritik,

I~ ~rdBarth, Karl, The Epistle to the Romans, tr, Edwyn C. Hoskyns (Oxford: 0

University Press, 1933) .. h orieBeier,Christel Zum Verhiiltnis von GesellschaftstheoTle und Erkednntmst (e

FfM:

U' 'ff' d k 'ti h Theone A amos .ntersuchungen zum Toialiiatsbegri In er n rsc enSuhrkamp, 1974) dot' of Critical

Benhabib,Seyla, Critique, Norm and Utopia: A Study of the Faun /OnsTheory(New York: Columbia University Press, 1986) d B niamin (Lon-

Benjamin, Andrew, ed., The Problems of Modernity: Adorno an edon:Routledge, 1991) Max Horkheimer: New

-, WOlfgang Bonil and john McCole, eds, OnPerspectives (Cambridge, Mass.: MIT Press, 1993

d) , Social Psychology',

Benjamin, jessica, 'The End of Internalization: A orne sTelos32 (977), 42--64 . I (FfM: Suhrkamp, 1963)

BenJ'llllin, Walter, Ursprung des deutschen Trauersp" Sw Adorno (2 vols, FfM:-, Briefe, ed. Gerschom Scholem and Theodor .Suhrkamp, 1966) H Zohn (London: Fontana,

-, llluminations, ed. Hannah Arendt, IT. arry1973)

266 Bibliography

--, The Origin of German Tragic Drama, IT.John Osborne (London:NewLeftBooks, 1977)

--, On. Way SIr eet, IT. Edmund Iephcott and Kingsley Shorter (London:ew Left Books, 1979)

Berman, Russell A., 'Adorno, Marxism and Art', Telos 34 (WInter 1977-8),157-66

--, 'Adorno's Radicalism: Two Interviews from the Sixties', Telos 56(19 ),94-7

Berns! in, J.M., The Fate of Art: Aesthetic Alienation [rom Kant to Dernda andAdamo (Cambridge: Polity Press, 1991)

--, Recovering Ethical Life: /urg." Habermas and the Future of Critical Theory(London: Routledge, 1995)

Bloch, Ernst, Geist der Utopie (Munich and Leipzig: Duncker and Humblol,1918 (lacs. FIM: Suhrkamp, 1971))

--, Brtefe 1903-1975, ed. Karola Bloch et al. (2 vols, FIM: Suhrkamp, 1985)Bock lmann, Franz, Ober Marx und Adorno. Schwierigkeiten da spiifmJ1rxis-

tl,,!hen Theorie (FIM: Makol, 1972)BoI;~)Andrew, Schelling and Modern European Philosophy (London:Routledge,

--, From Romanticism to Critical Theory (London: Routledge 1997)Braun Ca I K " J T: . ", r ~ ruisc te heorieversus Kritizismus (Kantstudien Erganzungshefte,115) (Berlin: de Gruyter, 1983)

B";'~1 Stefan, 'Adorno's Anthropology', IT. John Blazek, Telos 64 (l98s..,;),

BruSocnkh/oCrsl't·Hauke,'Adorno, Heidegger and Poslmodernity' Philosophyand10 TI /C/SIII 14 (1988), 411-24 '

BUb;erTheodR"°dr W Ad.orno. Dialektik der Moderne (Munich: Piper, 1990), u 'ger 'Uber euug B d' .. tik' N

Hefte ft/r Phi/o;"phie 5 (l973)~ 3s':/;gungen gegenwartiger Asthe , eue--, '!<ann Theorie asthetis' ch d hiAdomos' in B kh . wer en? Zum Hauptmotiv der Philosop elislhelisc"~n Tlze

UI. ardt Lmdner and W. Martin Ludke, eds,MateriJllie1lzur

Buck·Morss Susa".':'~J:'~dO'. W Adornos (FIM: Suhrkamp, 1980),pp. 108-37Benjamin, 'and the' FTa:kf/T1gm of !",egative Dialectics: Theodor W Adorno, Walter

Cabn Michael 'Sub . "t Inst,tute (Hassocks: Harvester, 1977), ,Verslve Mim .,. . . edMihai Spariosu (Phil d 1 h' eslS, 1Jl M,meSIS in Contemporary Theory, .

Carnap, Rudolf 'Pseu~ e p 'a: John Benjamin's Publishing Company, 1984)and the Re~m C ~problems m Philosophy: The HeteropsychologicalGeorge (London' ;~Utl:;rsy', in The Logical Structure of the World, tr. RoUA.

Caygill, HOWard Art age, 1967), pp. 301-43Cochettl, Stelano' M t'fh/udgelllent (Oxford: Blackwell 1989), Y as und D' I k 'k 'Anton Ham, 1985) In e t, der Aufk1iirung (Meisenheim: VerlagCofta, J. Alberto, The Soma' ..

Stahon, ed Linda W Isntlc Tradltzon h-om Kant to Carnap' To the Vie1lnaC . ..esse (C b' J" .onnerton, Paul, The Tra ed a am ndge: Cambridge University Press, 1991)(Cambridge: Cambridg8e D f Enhght."m."t: An Essay on the Frankfurt School

COOke, Deryck, The Lon ua ruverstty Press, 1980)Cornelius Hans 11 g ge of Mus/c (Oxford' ""£0 d U· 'ty Press 1989)d '. .' ranscendentat S .' '-'JU"' r mverSl ,C er Erkenntnlstheorie (Munich' e ystematlk. Untersuchungen zur Begrlindungornell, Drucilla, The Philoso h' Ernst Reinhardt, 1916)

p Yof the Lilllit (London: Routledge, 1992)

Bibliography 267Croce,Benedetto, What is Living and What is Dead of the Philosophy of Hegel, IT.DouglasAinslie (London: Macmillan, 1915)

Dahlhaus, Carl, "Adomos Begtifl des musikalischen Materials', in HansHeinrich Eggebrecht, ed., Zur Terminotogie der Musik des 20. [ahrhunderts(Stuttgart:Musikwissenschaltliche Verlags-Gesellschalt, 1974), pp. 9-21

-, Soziologische Dechiflrierung von Musik. Zu Theodor W. AdomosWagner-Kritik', The International Review of the Aesthetics and Sociology ofMllsicI (1979), 137-47

Dallmayr, Fred R, Life-World, Modernity and Critique (Cambridge: Polity Press,1991)

de Vries,Hendrich and H. Kunnemann, eds, Die Aktuafiliit der 'Dialektik derAllfkliirung' (FIM: Campus, 1989) ..

de Vries,Hent, 'Moralitat und Sittlichkeit. Zu Adornos Hegelkritik", Hegel-lahrbuch (1988),300-7

Dertida,jacques, Gfas, tr. John P. Leavey [r and Richard Rand (Lincoln:University01Nebraska Press, 1986)

-, Psyche. inventions de /'Autre (Paris: Galilee, 1987) .-, The Trllth in Painting, IT.Geoffrey Bennington and Ian McLeod (Chicago:Universityof Chicago Press, 1987) .'

-, Given Time, vol. 1: Counterfeit Money, IT.Peggy Kamuf (Chicago: Uru-versityof Chicago Press, 1992)

-, Specters of Marx, IT.Peggy Kamuf (London: Routledge, 1994)-, The Politics of Friendship', iourno! of Philosophy, vol. 85, no. 11 (Nov-ember1988), 632-44 I .

Dews,Peter,Logics of Disintegration: Post-Structuralist Thought and the C amlS ofCriticalTheory (London: Verso, 1987)

-, The Limits of Disencllnnt",ent (London: Verso, 1996) . . f-Dilthey, Wilhelm, Der Aufbau der geschichtlichen Welt In den GelsteswlssenscM

ten, ed. B.Groethuysen (Leipzig: B. G. Teubner, 1927) d' frlihe"Dubiel, Helmut, Wisserlschaftstheorie und politische Erfahrung. Stu len zur

Kritischell Theorie (FIM: Sulukamp, 1978) 't' I Thea tr.-, Theory and Politics: Studies in the Development of Crt lea ry,BenjaminGregg (Cambridge, Mass.: MIT Press, 1985)w 0 H lis (London:

Durkheim, Emile, The Division of Labour In Soetety, tr. . . aMacrniJJan,1984) V. h "ber Adorno

Diittmann, Alexander Garcia, Das Gediichtnis des Denkens. ersuC u.lind Heidegger (FIM: Suhrkamp, 1991) . b 'ffd Kritischen Theorie

Diiver, Lothar, Theodor W Adorno. Der Wlssenschafts egn erin seinem Werk (Bonn: Bouvier, 1978) , th ti ' British /ournal of

Edgar, Andrew, 'An lntroduction to Adorno S Aes e cs,.Aesthetics 30 (I) (]990), 46-56 . Z . Batscha and RichardFIChte,I. G., Ausgewahlte politische Schriften, ed. WI

.Saage<FIM:Suhrkamp, 1977) Criticism', in R D.Fink,Eugen, 'Husser!'s Philosophy and CO(~~Po~"3'uadrangle, 1970), pp.Elveton, ed., The Phenomenology of Hussert cag .73-147 . Hid ger' I"n"'- lind

FOI1lJnfur Philosophie Bad Homburg, eds, Marl'" e eg .Aupellansichten <FIM: Suhrkamp, 1989) eds Momo-Konferenz 1983

VOnFriedeburg, Ludwig and Jiirgen Habertnas, '(FfM:SUlukamp, 1983)

268 BibLiography

Fromm, Erich, The Crisis of Psychoanalysis (London: jonathan Cape, 1971)FruchU, Josef, Mimesis. Konstellation eines Zentralbegriffs bei Adorno (Wiinburg:Konig hausen und Neumann, 1986)

--, Vnparteiische Vernunft und interesseloses WohJgefallen. Zu AdomosTransfonnierung des Kantischen Modells', Zeilsehrif/ fiir philosophischeFor·sell/lng (41) (J987), 88--99

--, 'Radlkalitat und Konsequenz in der Wahrheitstheorie. NietzschealsHerau fonderung fUr Adorno und Habermas', Nietzsche-Studien 19 (1990),431~1

--, ' "Moral begriinden ist schwer". Die Rolle der Mitleidsethik hoi Adornound Habennas', Schopenhouer Jahrbuch 72 (]991), 36-44

Caleazzi, Umberto, 'Kant e Husserl nei primi lavon filosofici di Adorno',Rioisla Filosofica Neoseolastica 7S (J983), 263-87ans, Herbert L 'Popular Culture in America: Social Problem in a MassSociety or Social Asset in a Pluralist Society?', in Social Problems: A ModernApproach, ed. Herbert S. Becker (New York: Wiley; 1966)uss, Raymond, The Idea of a Critical Theory: Habermas and the Frankfurt School(Cambndge: Cambndge University Press, 1981)renz, Friedemann, Adamos Philosophie in Grundbegriffen. Auflosung einigerDel/tllngsprobleme (FfM: Suhrkamp, 1974) .

Cnpp, Helga, Theodor W Adorno. Erkennfnisdimensionen negativer Dialektik(PaderOOm: Sch6n.ingh, 1986)

G~mann, Henryk, Dos Akkumulations_ und Zusammenbruchsgesetz des ktlpita-IIsllsehel/ Systems (leipZig: Hirschfeld, 1929)

--, M~rx, dIe klass'~~he Nationaldkonomie und das Problemder Dynamik(FfMand VIenna: EuropalSche Verlagsanstalt and Europa Verlag, 1969)

--.' The CAw..af Accumulation and Breakdown of the Capitalist System, tr. and abr.!alrUS Banall (London: Pluto Press, 1992)

G~nther, Klaus, 'Dialektik der Aufkliirung in der Idee der Freiheit. 2ur Kritik(J~~~~~begriff be. Adorno', Zeitschrif/ fUr philosophische Forschung 39

G . U':~'::~h (]t~7S;;~~~ 'Vnwahrheit". Zu Adornos Hegel-Kritik', Hegel·

Habennas Jurg" en C ..McCarth (Lo ' .amn~umcaflon and the Evolution of Society, tr. Thomas

]I ndon. Hememann 1979)-, Theone des komm l:a' '- The Philoso h· I um tlVen Handelns (2 vols, FfM: Suhrkamp, 198])La' (Ca P ICa DISCOUrseof Modernity: Twelve Lectures, tr. FrederickG.

_ WTenThce mbndge: POlity Press, 1987), e Theory Of Com .. Is

Basto . Be J mumcat,ve Action tr Thomas McCarthy (2 va ;n. aeon Pres 1984 ' --, Moral Conscio s, and Cambridge: Polity Press, 1987)and 5hierry Webe:-;;;: and Commun.icative Achon, tr. Christian Lenhardt

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