Heinz Werner, Einflihrung in die
Entwicklungspsychologie
(Leipzig , 1 926) , p .
Theoder-Adorno-Aesthetic-Theory
Holm, Felskunst im sUdlichen Afrika, in Kunst der Welt: Die Steinzeit, p.
198.
13. See Felix Speiser, Ethnographische Materialien aus den Neuen Hebriden und den Banks-
Inseln (Berlin, 1923).
14. Fritz Krause, "Maske und Ahnenfigur: Das Motiv der Hiille und das Prinzip der Form," in
Kulturanthropologie, ed. W. E. Miihlmann and E. W. Miiller (Cologne and Berlin, 1 966), p. 228.
15. Speiser, Ethnographische Materialien, p. 390.
16. Fredrich Nietzsche, Werke in drei Biinden, ed. Karl Schlechta, vol. 3 (Munich and Vienna,
1956), p. 481 .
17. The whole In Search ofWagner [trans. Rodney Livingstone (London, 1981)-trans. ) had no
other purpose than to mediate the critique of the truth content of Wagner's compositions with their technological structure and its fragility .
18 . In Search of Wagner sought to demonstrate the mediation of the meta-aesthetic and the artistic in the work of an important artist. If in various sections the study is still oriented too psychologically to the artist, nevertheless the intent was a material aesthetics that would give a social and substantive voice to the autonomous and particularly the formal categories of art. The book is concerned with the objective meditations that constitute the truth content of the work, not with the genesis of the oeuvre or with analogies. Its intention was a contribution to philosophical aesthetics, not to the sociology of knowledge . What irritated Nietzsche about Wagner, the showiness, the bombast, and the affirmative- ness and foisting pushiness that are evident right into the deepest molecule of the compositional tech- nique, is one with the social ideology that the texts overtly espouse. Sartre's dictum that a good novel cannot be written from the perspective of anti-Semitism (see Jean-Paul Sartre, What Is Literature? New York, 1965, p. 58) puts the matter succinctly.
19. [See note 3 on "authenticity" in "Art Beauty: Apparition, Spiritualization, Intuitability. "-trans. } 20. [The phrase in square brackets was crossed out in the manuscript, but the sentence was not
otherwise revised. -ed. note in the original German edition. }
2 1 . Katesa Schlosser, Der Signalismus in der Kunst der Naturvolker: Biologisch-psychologische
Gesetzlichkeiten in den Abweichungen von der Norm des Vorbildes (Kiel, 1 952), p. 1 4 .
22. ["Wie schOn sich Bild an Bildchen reiht," from "Verkllirter Herbst" (transfigured autumn), one of Georg Trakl's best-known short poems, in Georg Trakl: Dichtungen und Briefe (Salzburg, 1 969),
p. 37-trans. ]
23. Eduard Morike, Siimtliche Werke, ed. ]. Perfahl et al. , vol. 1 (Munich, 1968), p. 703. 24. Paul Valery, OEuvres, ed. T. Hytier, vol. 2 (Paris, 1966), pp. 565f.
376 0 NOTES TO PAGES 300-327
2 5 . W a l t e r B e n j a m i n , T h e O r i g i n of G e rm a n T r a g i c D r a m a , t r a n s . J o h n O s b o rn e ( L o n d o n , 1 9 7 7 ) , p. 60.
26. [Hedwig Courths-Mahler (1867-1950) was the author of more than two hundred pulp nov- els. -trans. ]
2 7 . [ Wa l l e n s t e i n ' s C a m p i s t h e p r e l u d e t o t h e Wa l l e n s t e i n t r i l o g y ( 1 7 9 7 - 1 7 9 9 ) . - t r a n s . ]
28. See Adorno, "Individuum. und Organisation," in Individuum und Organisation, ed. F. Neu- mark (Darmstadt, 1954), pp. 21ff.
29. Arnold Gehlen, "Uber einige Kategorien des entlasteten, zumal des asthetischen Verhaltens," in Studien zur Anthropologie und Soziologie (Neuwied and Berlin, 1963), p. 70.
30. Ibid. , p. 69.
3 1 . [A German nationalist maxim attributed to Richard Wagner. -trans. ]
32. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations,
pp. 222ff.
33. [Johann Nepomuk Nestroy (1801-1862), the Austrian singer, actor, playwright, inveterate im-
provisor, and caustic literary and social critic whose modern reputation was the result of his advocacy by Karl Kraus. -trans. ]
34. [Vicki Baum ( 1 888-1 960), the first German novelist whose career, techniques , and promotion were deliberately modeled by her publishing house, Ullstein, on the American formula of the best- seller. Baum is known as one of Ullstein's most successful ventures. -trans. ]
35. [See note 4 in "ArtBeauty: Apparition, Spiritualization, IntuitabiIity. "]
36. Charles Baudelaire, The Painter of the Modem Life, trans. and ed. Jonathan Mayne (New York, 1964), pp. 5ff.
37. Johann Huizinga, Homo Ludens (Boston, 1950), p. 46. 38. Ibid. ,p. 127.
39. Ibid. ,p. 140.
40. Ibid. p. 29.
41. Ibid. p. 30.
42. See Thomas Mann, Altes und Neues. Kleine Prosa aus fonf lahrzehnten (Frankfurt. 1953), pp. 556ff.
43. Huizinga,HomoLudens, p. 31.
44 . ["The Great Refusal" was a central idea of Herbert Marcuse's One Dimensional Man (Boston, 1 964), and it became a rallying cry of the American and German New Left. -trans. ]
45. See Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222ff.
46. Cf. Adorno Negative Dialectics (New York, 1973), pp. 158-161 . Excursus: Theories on the Origin of Art
1 . The author is grateful to Miss Renate Wieland, a graduate student in the Department of Philoso- phy at the University of Frankfurt, for her critical synopsis of the themes of this excursus.
2. Benedetto Croce, Aesthetic, trans. Douglas Ainslie (New York, 1956), p. 1 32. 3. See Melville 1. Herskovits,Man and His Work (New York, 1948). 4. SeePaulValery,lEuvres, vol. 2(Paris, 1957),p. 681. 5. ArnoldHauser,TheSocialHistoryofArt, vol. 1 (London, 1962),p. 1.
6 . Ibid. , p. 3 .
7. Ibid. ,p. 5.
8. Ibid. , p. 7. [Translation amended-trans. ]
9. Erik Holm, "Felskunst im siidlichen Afrika," in Kunst der Welt: Die Steinzeit (Baden-Baden,
1960),p. 196.
10. Hauser, The Social History ofArt, vol. I , p. 4.
NOTESTOPAGES327-37 0 377
1 1 . See Walther F. E. Resch, "Gedanken zur stilistischen Gliederung der Tierdarstellungen in der nordafrikanischen Felsbildkunst," in Paideuma. Mitteilungen zurKulturkunde. vol. 1 1 (1965). pp. 108ff. 12. See Konrad Lorenz, "Die angeborenen Formen moglicher Erfahrung," in Zeitschrift flir Tierpsychologie, vol. 5, p. 258; Arnold Gehlen, "Uber einige Kategorien des entlasteten, zumal des iisthetischen Verhaltens," in Studien zur Anthropologie und Soziologie (Neuwied and Berlin, 1963).
pp. 69ff.
1 3 . See Fritz Krause, "Maske und Ahnenfigur: Das Motiv der Hiille und das Prinzip der Form," in
Kulturanthropologie, ed. W. E. Miihlmann and E. W. Miiller (Cologne and Berlin, 1966), p. 231 . 14.
Heinz Werner, Einflihrung in die Entwicklungspsychologie (Leipzig , 1 926) , p . 269.
1 5 . Krause, "Maske und Ahnenfigur," pp. 223ff.
16. Ibid. ,p. 224.
Draft Introduction
1 . Ivo Frenzel, "Asthetik," in Philosophie. ed. A. Diemer and I. Frenzel. vol. 1 1 (Frankfurt. 1958), p. 35.
2. See Benjamin. The Origin of German Tragic Drama, trans. lohn Osborne (London, 1977), pp. 43ff.
3. SeeAdorno,"NotesonKafka,"inPrisms. trans. SamuelWeberandShierryWeber(Cambridge, 1981), pp. 243ff.
4. See Georg Wilhelm Friedrich Hegel, Aesthetics, trans. T. M. Knox . vol. 1 (Oxford, 1975). p. 34.
5 . Apart from the doctrine of disinterested satisfaction , which originates directly from the formal subjectivism of Kant's aesthetics, the historical boundaries of Kant's aesthetics are most apparent in his doctrine that the sublime belongs exclusively to nature, not to art . The art of his epoch, of which he philosophically gave a summary description. is characterized by the fact that without concerning itself with Kant and probably without being informed of his verdict. it immersed itself in the ideal of the sub- lime; this is above all true of Beethoven, whom incidently even Hegel never mentions. This historical limit was simultaneously a limit set up against the past. in the spirit of an age that disdained the baroque and whatever tended toward the baroque in Renaissance works as too much bound up with the recent past. It is deeply paradoxical that nowhere does Kant come closer to the young Goethe and bourgeois revolutionary art than in his description of the sublime; the young poets , the contemporaries of his old age. shared his sense of nature and by giving it expression vindicated the feeling of the sub- lime as an artistic ratherthan a moral reality. "Consider bold. overhanging, and, as it were, threatening rocks, thunderclouds piling up in the sky and moving about accompanied by lightning and thunder- claps, volcanos with all their destructive power, hurricanes with all the devastation they leave behind . the boundless ocean heaved up. the high waterfall of a mighty river. and so on. Compared to the might of any of these, our ability to resist becomes an insignificant trifle. Yet the sight of them becomes all the more attractive the more fearful it is, provided we are in a safe place. And we like to call these objects sublime because they raise the soul's fortitude above its usual middle range and allow us to discover in ourselves an ability to resist that is of a quite different kind, and that gives us the courage to believe that we could be a match for nature's seeming omnipotence. " Kant. Critique ofJudgment. trans. Werner S. Pluhar (Indianapolis, 1987), p. 120,
6. "Thesublime,however,canalsobefoundinaformlessobject,insofaraswepresentunbounded- ness, either [as] in the object or because the object prompts us to present it, while yet we add to this unboundedness the thought of its totality. " Ibid. , p. 98.
7. See Donald Brinkmann, Natur und Kunst: Zur Phiinomenologie des iisthetischen Gegen- standes (Zurich and Leipzig, 1938).
8. [Adorno is referring to Hermann Cohen,Asthetik des reinen Geflihls (Leipzig, 1912). -trans. ]
9. SeeArthurSchopenhauer,The Worldas WillandRepresentation(NewYork,1963),pp. 521ff. 10. [Karl Gustav Jochmann (1789-1830), the German scholar and political author known for his
378 0 NOTES TO PAGES 337-63
Studies on Protestantism and, most important, On Language, a sociopolitical study of language. See Walter Benjamin, "Carl Gustav Iochmann: Die Rlickschritte der Poesie," in Schriften, ed. Th. W. Adorno and G. Adorno, vol. 2. 2 (Frankfurt, 1955), pp. 572ff. -trans. ]
1 1 . See Hanns Gutman, "Literaten haben die Oper erfunden," in Anbruch, vol. 1 1 (1929), pp. 256ff.
12. [AsatiricalMunichweeklythatappeared 1896-1944,publishedinitiallyby A. LangerandTh. Heine. -trans. ]
13. See Adorno, "Parataxis: On Holderlin's Late Poetry," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), pp. t09ff.
14. SeePierreBoulez,"Necessited'uneorientationesthetique,"inZeugnisse: TheodorW. Adorno zum Sechzigsten Geburtstag, ed. M. Horkheimer (Frankfurt, 1963), p. 334ff.
1 5 . See Iohann Gottlieb Fichte , "First Introduction to the Science of Knowledge ," in J. G. Fichte: Science ofKnowledge, ed. and trans. Peter Heath and Iohn Lachs (Cambridge, 1982), pp. 3-28.
16. See Adorno, Hegel: Three Studies, trans. Shierry Weber (Boston, 1993).
17. See Max Horkheimer and Adorno, Dialectic ofEnlightenment, trans. John Cumming (New York,1972),pp. 187-200.
1 8 . See Adorno, "On Lyric Poetry and Society," in Notes to Literature, vol. I , pp. 34ff.
1 9 . S ee A d o rn o , l n t r od uc t i o n t o t h e S o c i o l o g y of M u s i c , tra n s . A s h t o n ( N e w Y o r k , 1 9 7 6 ) , c h a p t e r 1 2 . 20. See Adorno, "Uber das gegenwartige Verhliltnis von Philosophie und Musik," in Filosojia
dell'arte (Rome and Milan, 1953), pp. 5ff.
Editors' Mterword
1. [Translatedby E. B. Ashton (New York, I963). -trans. ]
2. [Although Adorno did not write the book on moral philosophy, his lectures on the topic will be published as Probleme der Moralphilosophie in volume to ofhis posthumous writings. -trans. ]
3. [Translated, edited, and with an introduction by Robert Hullot-Kentor (Minneapolis, 1989). - trans. ]
4. [Translated with introduction and annotation by Iuliane Brand and Christopher Hailey (Cam- bridge, 1991). -trans. ]
5. ["Einleitung zu Emile Durkheim Soziologie und Philosophie, " in Gesammelte Schriften vol. 8 , p. 245. -trans. ]
6. ["Charmed Language: On the Poetry of Rudolf Borchardt," in Notes to Literature, trans. Shierry WeberNicholsen, vol. 2 (New York, l992), p. 193. -trans. ]
7. [Translated by Glyn Adley and David Frisby (London, 1976). -trans. ]
8. [Adorno, "Marginalia zu Theorie und Praxis," in Stichworte, Gesammelte Schriften, vol. to. 1 (Frankfurt, 1977), p. 759. -trans. ]
Index
Compiled by Hassan Melehy
Adorno, Gretel, xviii 98, 100-101 , 107, 1 10, 1 15, 1 16, 123, 141 , Alembert, Jean d', 76 174, 177, 179, 185, 188, 195, 198, 200,
Altenberg,Peter,70 206-7,209,212,215,218,221,222,224,
Anders, Giinther, 153
Andersen, Hans Christian, 179
Apollinaire , Guillaume, 8
Aristophanes, 225
Aristotle, 108, 125, 164,202,203,220,238 Atget, Eugene, 56
Auschwitz, 152
Bach, Johann Sebastian, 59-60, 106-7, 142, 158, 160, 172, 183, 186, 199,201,209,210, 2 1 1 , 2 1 2 , 220 , 22 1 , 294, 337
Bachofen, Johann, 2, 268
Bacon, Francis, 255
Barbey d'Aurevilly, Jules, 257 Baudelaire,Charles,8, 14,20,21,22,36,40,48,
49, 79, 85, 92, 1 14, 133, 161 , 163, 192, 224, 236,237,240,254,257,281,298,316,321, 322, 354
Baum, Vicky, 314
Beaumarchais, Pierre de, 242 Beckett,Samuel, 16,20,27,30-31,32,46,79,
81-82,92, 128, 133, 134, 135, 147, 153, 154, 198,219,224,234,249-50,271,302, 317, 318, 320, 322, 340,347, 366, 370 n. 16
Beethoven,Ludwigvan,9, 13,39,45,85,88,
241 , 245, 253, 270, 277, 284, 290, 298, 307,
319-20, 349, 358, 377 n. 5 Benjamin,Walter,xv, xvi,23,25,33,44-45,56,
77, 79, 84, 85, 92, 100, 1 12, 1 16, 145-46, 172, 175, 182, 193, 195, 196,205,218,254, 263, 272, 274-75, 279, 299, 300, 310-1 1 , 320, 322, 333, 339, 354, 362, 368 n . 5 , 369 nn. 3,5, 378 n. 1 1
Benn, Gottfried, 46
Berg,Alban, 14,43,207,215,269,276,304,
361,362,363,369n. 5,371 n. 8 Bergson,Henri,69, 132,326 Berlioz, Hector, 38, 195, 215, 218 Bloch, Ernst, 37
Borchadt, Rudolf, 20, 68, 363, 370 n. 8 Boulez, Pierre, 216, 342
Brahms, Johannes, 276, 294
Braque, Georges, 302
Brecht,Bertolt, 18,27,32,36,40,56,79,99, 123, 147, 149, 161 , 206, 210, 220, 226, 232, 242,247,262,299,310
Breton,Andre,94
Bruckner, Anton, 20, 192, 294 Biichner,Georg,41, 195
379
Cage, John, 154
Carossa,Hans,41
Carroll, Lewis, 252
Celan , Paul , 2 1 9 , 32 1 , 322
Cervantes, Miguel de, 27-28, 225, 247-48 Chopin, Frederic, 16, 294
Cimabue,211
Claudius, Mathias, 194
Cocteau,Jean, 36, 298
Colette , 3 1 3 , 3 1 4
Corot, Camille, 68
Courths-Mahler, Hedwig, 300
Croce, Benedetto, 199, 201, 267, 325-26, 333
Dalf, Salvador, 229
d'Annunzio, Gabriele, 239 Debussy,Claude,20, 151, 190, 198,214,301,
308-9
de Gaulle , Charles, 254 Dewey, John, 335, 353 Dilthey, Wilhelm, 85, 345 Durkheim, Emile, 362--63
Eichendorff, Joseph, 55 Eliot, T. S. , 254
Engels, Friedrich, 374 n. 1 Epicurus, ? 2
Ernst, Max, 256, 298 Euripides, 52, 232
Fichte, Johann Gottlieb, 1 10, 170, 343 Flaubert,Gustave,4,36, 194,285 Freud, Sigmund, 8, 9-13, 61, 1 17, 183 Frisch, Max, 48
Frobenius, Leo, 280, 326
Gauguin, Paul, 195
Gehlen, Arnold, 309, 327
Geiger, Moritz, 332
George, Stefan, xvi, 1 6 , 49 , 94, 102, 176, 237,
248-49
Gesualdo de Venosa, Carlo, 41
Gide, Andre, 102
Giotto di Bondone, 2 1 1
Goethe, Johann Wolfgang von, 7 1 , 72, 73, 1 14,
128, 132, 151, 161, 171, 179, 186, 193,233,
248, 340, 357, 369 n. 17, 375 n. 7, 377 n. 5 Gogh, Vincent van, 41, 149, 150
Gorki, Maxime, 257
Grab, Hermann, 158 Greco,EI,41, 195 Guevara, Che, 212 Guys, Constantin, 3 1 6
Haag, Karl Heinz, 135
Haas, Willy, 313
Habermas , Jiirgen, 367 n . 1 2 Halm, August, 201 Hauptmann, Gerhart, 49, 257 Hauser, Arnold, 327
Haydn, Joseph, 198, 222-24
Hebbel, Friedrich, 69, 75, 194
Hebel, Johann Peter, 62, 194 Hege1,G. W. F. ,xvi, 1,3,6,7, 12, 13, 15, 17,
18-19,27, 32,41,44,46,50,51,57,61,62, 63, 64, 65--66, 7 1 , 72 , 73 , 74-77 , 80, 82, 89, 90, 9 1-92, 94, 97, 99, 102, 106, 107, 108, 109, 1 10, 1 13, 1 18, 145, 147, 148, 149, 150, 151, 159, 161, 163, 165, 169, 171, 179, 181, 185, 199,201,206,208,212,219,222,246, 250, 263 , 265, 266--67 , 27 1 , 273-75, 296, 299,308,313,316,320,323,325-26, 333-34, 335, 337, 338, 342, 343, 344-45,
3 5 1 , 3 5 2 , 3 5 3 , 3 5 4 -5 6 , 3 6 4
Heidegger, Martin, 99, 352, 368 n. 8, 370 n. 3 Herskovits, Melville J. , 326, 329
Hitler,Adolf, 18,24,49
Hofmannstahl, Hugo von, 16, 237 Hoiderlin,Friedrich,xviii,39,71,74, 191,240,
364
Holm, Erik, 327-28, 375 n. 10
Holz, Arno, 248-49
Homer, 6, 1 86-87
Horace, 12,28
Horkheimer, Max, xii, 330-3 1 , 369 nn. 2, 8, 378
n. 17
Hugo, Victor, 20 Huizinga,Johan,318-19 Humboldt, Wilhelm von, 7 1 , 7 2 Husserl, Edmund, 70, 285-86 Huxley, Aldous, 257, 281
Ibsen,Henrik,96,237,257,281,346 Ionesco,Eugene,347
Jochmann,Karl Gustav, 337 Joyce, James, 26, 1 12, 149,285
380 D INDEX
232, 254-55, 302, 322, 333
Maeteriinck, Maurice, 239, 270, 310 Mahler, Gustav, xv,41 , 189, 197, 221 Mallarme, Stephane, 24, 38, 94, 321 Malraux,Andre,254
Manet, Edouard, 36, 291
238,298,328, 330
Poe, Edgar Allan, 19, 20, 72, 121, 133, 298 Pound, Ezra, 254
Proust, Marcel, xvi, 63, 67, 102, 132, 135, 149,
187, 285, 301, 339 Puccini,Giacomo,209,313-14 Puvis de Chavannes, Pierre, 36
INDEX 0 381
Mann,Thomas,150,185,318
Marcuse, Herbert, 252, 376 n. 44
Marx, Karl, 161, 168-69, 193, 208, 227, 244,
260, 354
Masson, Andre, 229, 256, 276, 300
Mautz, Kurt, 207
Mendelssohn,Felix, 292 Mendelssohn,Moses, 10
Meuniers, Emile, 230
Meyer,Theodor,97-98
Meyerhold, Karl, 256
Meyrink,Gustav, 19
Michelangelo Buonarrotti, 1 10
Milton, John, 227
Mondrian, Piet, 57, 1 1 8
Monet, Claude, 192
Morike, Eduard, 123-24, 297
Mozart, Wolfgang Amadeus, xvi, 14, 63, 1 19,
141, 162, 177,200,220,221,232,253,294, 306-7, 337
Napoleon, 161, 198
Nestroy , Johann, 3 1 4
Newman, Barnett, xii
Newman, Ernest, 20
Nietzsche, Friedrich, 3 , 47 , 49-50, 5 1 , 70, 101 ,
129, 136, 144, 170, 204, 233, 257, 263 , 28 1 ,
284,341,356,375n. 18 Novalis, 373 n. 8
Oedipus, 358
O f fe n b a c h , J a c q u e s , 3 1 4 Olbrich, Elfriede, 366
Leonardo da Vinci, 8
Lessing, Gotthold, 84, 370 n. 6
Liebruck, Bruno , 356
Ligeti,Gyorgy, 156
Locke,John,279 216,237,256,257,258,287,298,302 Loos, Adolf, 26, 46, 58 , 60
Lorenz, Konrad, 309, 327
Lukacs,Gyorgy,43,95, 141-42, 147, 158, 188,
lugendstil, 16,87,116,155,237,239,257-58, 292, 316, 321 , 270-7 1
Jung, Carl, 85
Kafka, Franz, 12, 13, 16, 19, 1 12, 126, 127,
1 95-96 , 230-3 1 , 304, 3 1 8 , 322, 333, 339
Kahler,Erich,79
Kahnweiler,Daniel-Henry, 158,301 Kandinsky, Wassily, 87, 145, 149, 207, 293 Kant,Immanuel,xiii,6,9-13, 15, 18,22,43,48,
49, 57, 59, 61 , 62, 63, 64, 65, 66,70, 7 1 , 72, 76,90,91,92,94,97,99, 109, 113, 114, 116, 125, 126, 138, 139, 140, 147, 152, 163-66, 170, 171, 179, 196-97, 198-99, 202, 216, 217, 245, 266-67, 269, 276, 288, 334, 336, 338, 343,351, 352,353, 354-56
Kierkegaard, S? ren, xvi, 1 16, 149, 197, 344, 354 Klages, Ludwig, 85, 146
Klee,Paul, 19,34,60,82, 124,221,257,290,
292
Kleist, Heinrich von, 230
Kraus, Karl;63, 70, 93, 102, 149, 314, 369 n. 3 Krause, Fritz, 280-8 1 , 328
Krenek, Ernst, 304
Kubin, Alfred, 19
Kuhn, Helmut, 2
Kiirnberger, Ferdinand, 19, 224
Laclos, Pierre, 224 Laforgue,Rene,8
Lagerlof, Selma, 135
L a u t re a m o n t , C o m t e d e , 1 9 5 Leibniz, Gottfried Wilhelm, 236, 282 Lenhardt, C. , 367 n. 8
Palladio, Andrea, 59
Perutz. Leo, 83
Pfitzner, Hans, 4 1 Picasso,Pablo,24,30,44,93, 106, 158, 178,
Piero della Francesca, 2 1 1 , 337
Pissarro , Camille, 24, 67
Plato,xv, 82, 83, 108, 132,201,202,203,225,
Raphael, 337
Ratz, Erwin, 239
Ravel , Maurice, 1 8 5
Rembrandt van Rijn, 9, 1 10
Renoir, Pierre Auguste, 67
Resch, Walter, 280, 327
Riegl,Alois,60, 146, 169
Riesmann,David, 1 16, 374 n. 2
Rilke, Rainer Maria, 1 12, 237 Rimbaud,Arthur,3-4,20,22,33,46,93, 192,
237 , 3 1 6
Rosenkranz, Karl, 46
Rossini, Gioacchino, 106 Rousseau , Jean-Jacques, 63-64, 68
Sade, Marquis de, 132 Saint-Saens,Camille,20,301
Saint-Simon, Claude, 76, 218
Sartre, Jean-Paul, 236, 242, 256, 347, 375 n. 1 8 Scharoun,H. B. ,44 Schelling,Friedrich,47,61,72,77,78,91, 110,
130, 222, 344
Schikaneder, Emmanuel, 268
Schiller, Friedrich, 27, 28, 62, 151 , 161 , 17 1 ,
197, 226, 234, 303, 317 Schlegel,Friedrich, 366 Schlosser, Katesa, 327 , 375 n.
13. See Felix Speiser, Ethnographische Materialien aus den Neuen Hebriden und den Banks-
Inseln (Berlin, 1923).
14. Fritz Krause, "Maske und Ahnenfigur: Das Motiv der Hiille und das Prinzip der Form," in
Kulturanthropologie, ed. W. E. Miihlmann and E. W. Miiller (Cologne and Berlin, 1 966), p. 228.
15. Speiser, Ethnographische Materialien, p. 390.
16. Fredrich Nietzsche, Werke in drei Biinden, ed. Karl Schlechta, vol. 3 (Munich and Vienna,
1956), p. 481 .
17. The whole In Search ofWagner [trans. Rodney Livingstone (London, 1981)-trans. ) had no
other purpose than to mediate the critique of the truth content of Wagner's compositions with their technological structure and its fragility .
18 . In Search of Wagner sought to demonstrate the mediation of the meta-aesthetic and the artistic in the work of an important artist. If in various sections the study is still oriented too psychologically to the artist, nevertheless the intent was a material aesthetics that would give a social and substantive voice to the autonomous and particularly the formal categories of art. The book is concerned with the objective meditations that constitute the truth content of the work, not with the genesis of the oeuvre or with analogies. Its intention was a contribution to philosophical aesthetics, not to the sociology of knowledge . What irritated Nietzsche about Wagner, the showiness, the bombast, and the affirmative- ness and foisting pushiness that are evident right into the deepest molecule of the compositional tech- nique, is one with the social ideology that the texts overtly espouse. Sartre's dictum that a good novel cannot be written from the perspective of anti-Semitism (see Jean-Paul Sartre, What Is Literature? New York, 1965, p. 58) puts the matter succinctly.
19. [See note 3 on "authenticity" in "Art Beauty: Apparition, Spiritualization, Intuitability. "-trans. } 20. [The phrase in square brackets was crossed out in the manuscript, but the sentence was not
otherwise revised. -ed. note in the original German edition. }
2 1 . Katesa Schlosser, Der Signalismus in der Kunst der Naturvolker: Biologisch-psychologische
Gesetzlichkeiten in den Abweichungen von der Norm des Vorbildes (Kiel, 1 952), p. 1 4 .
22. ["Wie schOn sich Bild an Bildchen reiht," from "Verkllirter Herbst" (transfigured autumn), one of Georg Trakl's best-known short poems, in Georg Trakl: Dichtungen und Briefe (Salzburg, 1 969),
p. 37-trans. ]
23. Eduard Morike, Siimtliche Werke, ed. ]. Perfahl et al. , vol. 1 (Munich, 1968), p. 703. 24. Paul Valery, OEuvres, ed. T. Hytier, vol. 2 (Paris, 1966), pp. 565f.
376 0 NOTES TO PAGES 300-327
2 5 . W a l t e r B e n j a m i n , T h e O r i g i n of G e rm a n T r a g i c D r a m a , t r a n s . J o h n O s b o rn e ( L o n d o n , 1 9 7 7 ) , p. 60.
26. [Hedwig Courths-Mahler (1867-1950) was the author of more than two hundred pulp nov- els. -trans. ]
2 7 . [ Wa l l e n s t e i n ' s C a m p i s t h e p r e l u d e t o t h e Wa l l e n s t e i n t r i l o g y ( 1 7 9 7 - 1 7 9 9 ) . - t r a n s . ]
28. See Adorno, "Individuum. und Organisation," in Individuum und Organisation, ed. F. Neu- mark (Darmstadt, 1954), pp. 21ff.
29. Arnold Gehlen, "Uber einige Kategorien des entlasteten, zumal des asthetischen Verhaltens," in Studien zur Anthropologie und Soziologie (Neuwied and Berlin, 1963), p. 70.
30. Ibid. , p. 69.
3 1 . [A German nationalist maxim attributed to Richard Wagner. -trans. ]
32. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations,
pp. 222ff.
33. [Johann Nepomuk Nestroy (1801-1862), the Austrian singer, actor, playwright, inveterate im-
provisor, and caustic literary and social critic whose modern reputation was the result of his advocacy by Karl Kraus. -trans. ]
34. [Vicki Baum ( 1 888-1 960), the first German novelist whose career, techniques , and promotion were deliberately modeled by her publishing house, Ullstein, on the American formula of the best- seller. Baum is known as one of Ullstein's most successful ventures. -trans. ]
35. [See note 4 in "ArtBeauty: Apparition, Spiritualization, IntuitabiIity. "]
36. Charles Baudelaire, The Painter of the Modem Life, trans. and ed. Jonathan Mayne (New York, 1964), pp. 5ff.
37. Johann Huizinga, Homo Ludens (Boston, 1950), p. 46. 38. Ibid. ,p. 127.
39. Ibid. ,p. 140.
40. Ibid. p. 29.
41. Ibid. p. 30.
42. See Thomas Mann, Altes und Neues. Kleine Prosa aus fonf lahrzehnten (Frankfurt. 1953), pp. 556ff.
43. Huizinga,HomoLudens, p. 31.
44 . ["The Great Refusal" was a central idea of Herbert Marcuse's One Dimensional Man (Boston, 1 964), and it became a rallying cry of the American and German New Left. -trans. ]
45. See Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222ff.
46. Cf. Adorno Negative Dialectics (New York, 1973), pp. 158-161 . Excursus: Theories on the Origin of Art
1 . The author is grateful to Miss Renate Wieland, a graduate student in the Department of Philoso- phy at the University of Frankfurt, for her critical synopsis of the themes of this excursus.
2. Benedetto Croce, Aesthetic, trans. Douglas Ainslie (New York, 1956), p. 1 32. 3. See Melville 1. Herskovits,Man and His Work (New York, 1948). 4. SeePaulValery,lEuvres, vol. 2(Paris, 1957),p. 681. 5. ArnoldHauser,TheSocialHistoryofArt, vol. 1 (London, 1962),p. 1.
6 . Ibid. , p. 3 .
7. Ibid. ,p. 5.
8. Ibid. , p. 7. [Translation amended-trans. ]
9. Erik Holm, "Felskunst im siidlichen Afrika," in Kunst der Welt: Die Steinzeit (Baden-Baden,
1960),p. 196.
10. Hauser, The Social History ofArt, vol. I , p. 4.
NOTESTOPAGES327-37 0 377
1 1 . See Walther F. E. Resch, "Gedanken zur stilistischen Gliederung der Tierdarstellungen in der nordafrikanischen Felsbildkunst," in Paideuma. Mitteilungen zurKulturkunde. vol. 1 1 (1965). pp. 108ff. 12. See Konrad Lorenz, "Die angeborenen Formen moglicher Erfahrung," in Zeitschrift flir Tierpsychologie, vol. 5, p. 258; Arnold Gehlen, "Uber einige Kategorien des entlasteten, zumal des iisthetischen Verhaltens," in Studien zur Anthropologie und Soziologie (Neuwied and Berlin, 1963).
pp. 69ff.
1 3 . See Fritz Krause, "Maske und Ahnenfigur: Das Motiv der Hiille und das Prinzip der Form," in
Kulturanthropologie, ed. W. E. Miihlmann and E. W. Miiller (Cologne and Berlin, 1966), p. 231 . 14.
Heinz Werner, Einflihrung in die Entwicklungspsychologie (Leipzig , 1 926) , p . 269.
1 5 . Krause, "Maske und Ahnenfigur," pp. 223ff.
16. Ibid. ,p. 224.
Draft Introduction
1 . Ivo Frenzel, "Asthetik," in Philosophie. ed. A. Diemer and I. Frenzel. vol. 1 1 (Frankfurt. 1958), p. 35.
2. See Benjamin. The Origin of German Tragic Drama, trans. lohn Osborne (London, 1977), pp. 43ff.
3. SeeAdorno,"NotesonKafka,"inPrisms. trans. SamuelWeberandShierryWeber(Cambridge, 1981), pp. 243ff.
4. See Georg Wilhelm Friedrich Hegel, Aesthetics, trans. T. M. Knox . vol. 1 (Oxford, 1975). p. 34.
5 . Apart from the doctrine of disinterested satisfaction , which originates directly from the formal subjectivism of Kant's aesthetics, the historical boundaries of Kant's aesthetics are most apparent in his doctrine that the sublime belongs exclusively to nature, not to art . The art of his epoch, of which he philosophically gave a summary description. is characterized by the fact that without concerning itself with Kant and probably without being informed of his verdict. it immersed itself in the ideal of the sub- lime; this is above all true of Beethoven, whom incidently even Hegel never mentions. This historical limit was simultaneously a limit set up against the past. in the spirit of an age that disdained the baroque and whatever tended toward the baroque in Renaissance works as too much bound up with the recent past. It is deeply paradoxical that nowhere does Kant come closer to the young Goethe and bourgeois revolutionary art than in his description of the sublime; the young poets , the contemporaries of his old age. shared his sense of nature and by giving it expression vindicated the feeling of the sub- lime as an artistic ratherthan a moral reality. "Consider bold. overhanging, and, as it were, threatening rocks, thunderclouds piling up in the sky and moving about accompanied by lightning and thunder- claps, volcanos with all their destructive power, hurricanes with all the devastation they leave behind . the boundless ocean heaved up. the high waterfall of a mighty river. and so on. Compared to the might of any of these, our ability to resist becomes an insignificant trifle. Yet the sight of them becomes all the more attractive the more fearful it is, provided we are in a safe place. And we like to call these objects sublime because they raise the soul's fortitude above its usual middle range and allow us to discover in ourselves an ability to resist that is of a quite different kind, and that gives us the courage to believe that we could be a match for nature's seeming omnipotence. " Kant. Critique ofJudgment. trans. Werner S. Pluhar (Indianapolis, 1987), p. 120,
6. "Thesublime,however,canalsobefoundinaformlessobject,insofaraswepresentunbounded- ness, either [as] in the object or because the object prompts us to present it, while yet we add to this unboundedness the thought of its totality. " Ibid. , p. 98.
7. See Donald Brinkmann, Natur und Kunst: Zur Phiinomenologie des iisthetischen Gegen- standes (Zurich and Leipzig, 1938).
8. [Adorno is referring to Hermann Cohen,Asthetik des reinen Geflihls (Leipzig, 1912). -trans. ]
9. SeeArthurSchopenhauer,The Worldas WillandRepresentation(NewYork,1963),pp. 521ff. 10. [Karl Gustav Jochmann (1789-1830), the German scholar and political author known for his
378 0 NOTES TO PAGES 337-63
Studies on Protestantism and, most important, On Language, a sociopolitical study of language. See Walter Benjamin, "Carl Gustav Iochmann: Die Rlickschritte der Poesie," in Schriften, ed. Th. W. Adorno and G. Adorno, vol. 2. 2 (Frankfurt, 1955), pp. 572ff. -trans. ]
1 1 . See Hanns Gutman, "Literaten haben die Oper erfunden," in Anbruch, vol. 1 1 (1929), pp. 256ff.
12. [AsatiricalMunichweeklythatappeared 1896-1944,publishedinitiallyby A. LangerandTh. Heine. -trans. ]
13. See Adorno, "Parataxis: On Holderlin's Late Poetry," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), pp. t09ff.
14. SeePierreBoulez,"Necessited'uneorientationesthetique,"inZeugnisse: TheodorW. Adorno zum Sechzigsten Geburtstag, ed. M. Horkheimer (Frankfurt, 1963), p. 334ff.
1 5 . See Iohann Gottlieb Fichte , "First Introduction to the Science of Knowledge ," in J. G. Fichte: Science ofKnowledge, ed. and trans. Peter Heath and Iohn Lachs (Cambridge, 1982), pp. 3-28.
16. See Adorno, Hegel: Three Studies, trans. Shierry Weber (Boston, 1993).
17. See Max Horkheimer and Adorno, Dialectic ofEnlightenment, trans. John Cumming (New York,1972),pp. 187-200.
1 8 . See Adorno, "On Lyric Poetry and Society," in Notes to Literature, vol. I , pp. 34ff.
1 9 . S ee A d o rn o , l n t r od uc t i o n t o t h e S o c i o l o g y of M u s i c , tra n s . A s h t o n ( N e w Y o r k , 1 9 7 6 ) , c h a p t e r 1 2 . 20. See Adorno, "Uber das gegenwartige Verhliltnis von Philosophie und Musik," in Filosojia
dell'arte (Rome and Milan, 1953), pp. 5ff.
Editors' Mterword
1. [Translatedby E. B. Ashton (New York, I963). -trans. ]
2. [Although Adorno did not write the book on moral philosophy, his lectures on the topic will be published as Probleme der Moralphilosophie in volume to ofhis posthumous writings. -trans. ]
3. [Translated, edited, and with an introduction by Robert Hullot-Kentor (Minneapolis, 1989). - trans. ]
4. [Translated with introduction and annotation by Iuliane Brand and Christopher Hailey (Cam- bridge, 1991). -trans. ]
5. ["Einleitung zu Emile Durkheim Soziologie und Philosophie, " in Gesammelte Schriften vol. 8 , p. 245. -trans. ]
6. ["Charmed Language: On the Poetry of Rudolf Borchardt," in Notes to Literature, trans. Shierry WeberNicholsen, vol. 2 (New York, l992), p. 193. -trans. ]
7. [Translated by Glyn Adley and David Frisby (London, 1976). -trans. ]
8. [Adorno, "Marginalia zu Theorie und Praxis," in Stichworte, Gesammelte Schriften, vol. to. 1 (Frankfurt, 1977), p. 759. -trans. ]
Index
Compiled by Hassan Melehy
Adorno, Gretel, xviii 98, 100-101 , 107, 1 10, 1 15, 1 16, 123, 141 , Alembert, Jean d', 76 174, 177, 179, 185, 188, 195, 198, 200,
Altenberg,Peter,70 206-7,209,212,215,218,221,222,224,
Anders, Giinther, 153
Andersen, Hans Christian, 179
Apollinaire , Guillaume, 8
Aristophanes, 225
Aristotle, 108, 125, 164,202,203,220,238 Atget, Eugene, 56
Auschwitz, 152
Bach, Johann Sebastian, 59-60, 106-7, 142, 158, 160, 172, 183, 186, 199,201,209,210, 2 1 1 , 2 1 2 , 220 , 22 1 , 294, 337
Bachofen, Johann, 2, 268
Bacon, Francis, 255
Barbey d'Aurevilly, Jules, 257 Baudelaire,Charles,8, 14,20,21,22,36,40,48,
49, 79, 85, 92, 1 14, 133, 161 , 163, 192, 224, 236,237,240,254,257,281,298,316,321, 322, 354
Baum, Vicky, 314
Beaumarchais, Pierre de, 242 Beckett,Samuel, 16,20,27,30-31,32,46,79,
81-82,92, 128, 133, 134, 135, 147, 153, 154, 198,219,224,234,249-50,271,302, 317, 318, 320, 322, 340,347, 366, 370 n. 16
Beethoven,Ludwigvan,9, 13,39,45,85,88,
241 , 245, 253, 270, 277, 284, 290, 298, 307,
319-20, 349, 358, 377 n. 5 Benjamin,Walter,xv, xvi,23,25,33,44-45,56,
77, 79, 84, 85, 92, 100, 1 12, 1 16, 145-46, 172, 175, 182, 193, 195, 196,205,218,254, 263, 272, 274-75, 279, 299, 300, 310-1 1 , 320, 322, 333, 339, 354, 362, 368 n . 5 , 369 nn. 3,5, 378 n. 1 1
Benn, Gottfried, 46
Berg,Alban, 14,43,207,215,269,276,304,
361,362,363,369n. 5,371 n. 8 Bergson,Henri,69, 132,326 Berlioz, Hector, 38, 195, 215, 218 Bloch, Ernst, 37
Borchadt, Rudolf, 20, 68, 363, 370 n. 8 Boulez, Pierre, 216, 342
Brahms, Johannes, 276, 294
Braque, Georges, 302
Brecht,Bertolt, 18,27,32,36,40,56,79,99, 123, 147, 149, 161 , 206, 210, 220, 226, 232, 242,247,262,299,310
Breton,Andre,94
Bruckner, Anton, 20, 192, 294 Biichner,Georg,41, 195
379
Cage, John, 154
Carossa,Hans,41
Carroll, Lewis, 252
Celan , Paul , 2 1 9 , 32 1 , 322
Cervantes, Miguel de, 27-28, 225, 247-48 Chopin, Frederic, 16, 294
Cimabue,211
Claudius, Mathias, 194
Cocteau,Jean, 36, 298
Colette , 3 1 3 , 3 1 4
Corot, Camille, 68
Courths-Mahler, Hedwig, 300
Croce, Benedetto, 199, 201, 267, 325-26, 333
Dalf, Salvador, 229
d'Annunzio, Gabriele, 239 Debussy,Claude,20, 151, 190, 198,214,301,
308-9
de Gaulle , Charles, 254 Dewey, John, 335, 353 Dilthey, Wilhelm, 85, 345 Durkheim, Emile, 362--63
Eichendorff, Joseph, 55 Eliot, T. S. , 254
Engels, Friedrich, 374 n. 1 Epicurus, ? 2
Ernst, Max, 256, 298 Euripides, 52, 232
Fichte, Johann Gottlieb, 1 10, 170, 343 Flaubert,Gustave,4,36, 194,285 Freud, Sigmund, 8, 9-13, 61, 1 17, 183 Frisch, Max, 48
Frobenius, Leo, 280, 326
Gauguin, Paul, 195
Gehlen, Arnold, 309, 327
Geiger, Moritz, 332
George, Stefan, xvi, 1 6 , 49 , 94, 102, 176, 237,
248-49
Gesualdo de Venosa, Carlo, 41
Gide, Andre, 102
Giotto di Bondone, 2 1 1
Goethe, Johann Wolfgang von, 7 1 , 72, 73, 1 14,
128, 132, 151, 161, 171, 179, 186, 193,233,
248, 340, 357, 369 n. 17, 375 n. 7, 377 n. 5 Gogh, Vincent van, 41, 149, 150
Gorki, Maxime, 257
Grab, Hermann, 158 Greco,EI,41, 195 Guevara, Che, 212 Guys, Constantin, 3 1 6
Haag, Karl Heinz, 135
Haas, Willy, 313
Habermas , Jiirgen, 367 n . 1 2 Halm, August, 201 Hauptmann, Gerhart, 49, 257 Hauser, Arnold, 327
Haydn, Joseph, 198, 222-24
Hebbel, Friedrich, 69, 75, 194
Hebel, Johann Peter, 62, 194 Hege1,G. W. F. ,xvi, 1,3,6,7, 12, 13, 15, 17,
18-19,27, 32,41,44,46,50,51,57,61,62, 63, 64, 65--66, 7 1 , 72 , 73 , 74-77 , 80, 82, 89, 90, 9 1-92, 94, 97, 99, 102, 106, 107, 108, 109, 1 10, 1 13, 1 18, 145, 147, 148, 149, 150, 151, 159, 161, 163, 165, 169, 171, 179, 181, 185, 199,201,206,208,212,219,222,246, 250, 263 , 265, 266--67 , 27 1 , 273-75, 296, 299,308,313,316,320,323,325-26, 333-34, 335, 337, 338, 342, 343, 344-45,
3 5 1 , 3 5 2 , 3 5 3 , 3 5 4 -5 6 , 3 6 4
Heidegger, Martin, 99, 352, 368 n. 8, 370 n. 3 Herskovits, Melville J. , 326, 329
Hitler,Adolf, 18,24,49
Hofmannstahl, Hugo von, 16, 237 Hoiderlin,Friedrich,xviii,39,71,74, 191,240,
364
Holm, Erik, 327-28, 375 n. 10
Holz, Arno, 248-49
Homer, 6, 1 86-87
Horace, 12,28
Horkheimer, Max, xii, 330-3 1 , 369 nn. 2, 8, 378
n. 17
Hugo, Victor, 20 Huizinga,Johan,318-19 Humboldt, Wilhelm von, 7 1 , 7 2 Husserl, Edmund, 70, 285-86 Huxley, Aldous, 257, 281
Ibsen,Henrik,96,237,257,281,346 Ionesco,Eugene,347
Jochmann,Karl Gustav, 337 Joyce, James, 26, 1 12, 149,285
380 D INDEX
232, 254-55, 302, 322, 333
Maeteriinck, Maurice, 239, 270, 310 Mahler, Gustav, xv,41 , 189, 197, 221 Mallarme, Stephane, 24, 38, 94, 321 Malraux,Andre,254
Manet, Edouard, 36, 291
238,298,328, 330
Poe, Edgar Allan, 19, 20, 72, 121, 133, 298 Pound, Ezra, 254
Proust, Marcel, xvi, 63, 67, 102, 132, 135, 149,
187, 285, 301, 339 Puccini,Giacomo,209,313-14 Puvis de Chavannes, Pierre, 36
INDEX 0 381
Mann,Thomas,150,185,318
Marcuse, Herbert, 252, 376 n. 44
Marx, Karl, 161, 168-69, 193, 208, 227, 244,
260, 354
Masson, Andre, 229, 256, 276, 300
Mautz, Kurt, 207
Mendelssohn,Felix, 292 Mendelssohn,Moses, 10
Meuniers, Emile, 230
Meyer,Theodor,97-98
Meyerhold, Karl, 256
Meyrink,Gustav, 19
Michelangelo Buonarrotti, 1 10
Milton, John, 227
Mondrian, Piet, 57, 1 1 8
Monet, Claude, 192
Morike, Eduard, 123-24, 297
Mozart, Wolfgang Amadeus, xvi, 14, 63, 1 19,
141, 162, 177,200,220,221,232,253,294, 306-7, 337
Napoleon, 161, 198
Nestroy , Johann, 3 1 4
Newman, Barnett, xii
Newman, Ernest, 20
Nietzsche, Friedrich, 3 , 47 , 49-50, 5 1 , 70, 101 ,
129, 136, 144, 170, 204, 233, 257, 263 , 28 1 ,
284,341,356,375n. 18 Novalis, 373 n. 8
Oedipus, 358
O f fe n b a c h , J a c q u e s , 3 1 4 Olbrich, Elfriede, 366
Leonardo da Vinci, 8
Lessing, Gotthold, 84, 370 n. 6
Liebruck, Bruno , 356
Ligeti,Gyorgy, 156
Locke,John,279 216,237,256,257,258,287,298,302 Loos, Adolf, 26, 46, 58 , 60
Lorenz, Konrad, 309, 327
Lukacs,Gyorgy,43,95, 141-42, 147, 158, 188,
lugendstil, 16,87,116,155,237,239,257-58, 292, 316, 321 , 270-7 1
Jung, Carl, 85
Kafka, Franz, 12, 13, 16, 19, 1 12, 126, 127,
1 95-96 , 230-3 1 , 304, 3 1 8 , 322, 333, 339
Kahler,Erich,79
Kahnweiler,Daniel-Henry, 158,301 Kandinsky, Wassily, 87, 145, 149, 207, 293 Kant,Immanuel,xiii,6,9-13, 15, 18,22,43,48,
49, 57, 59, 61 , 62, 63, 64, 65, 66,70, 7 1 , 72, 76,90,91,92,94,97,99, 109, 113, 114, 116, 125, 126, 138, 139, 140, 147, 152, 163-66, 170, 171, 179, 196-97, 198-99, 202, 216, 217, 245, 266-67, 269, 276, 288, 334, 336, 338, 343,351, 352,353, 354-56
Kierkegaard, S? ren, xvi, 1 16, 149, 197, 344, 354 Klages, Ludwig, 85, 146
Klee,Paul, 19,34,60,82, 124,221,257,290,
292
Kleist, Heinrich von, 230
Kraus, Karl;63, 70, 93, 102, 149, 314, 369 n. 3 Krause, Fritz, 280-8 1 , 328
Krenek, Ernst, 304
Kubin, Alfred, 19
Kuhn, Helmut, 2
Kiirnberger, Ferdinand, 19, 224
Laclos, Pierre, 224 Laforgue,Rene,8
Lagerlof, Selma, 135
L a u t re a m o n t , C o m t e d e , 1 9 5 Leibniz, Gottfried Wilhelm, 236, 282 Lenhardt, C. , 367 n. 8
Palladio, Andrea, 59
Perutz. Leo, 83
Pfitzner, Hans, 4 1 Picasso,Pablo,24,30,44,93, 106, 158, 178,
Piero della Francesca, 2 1 1 , 337
Pissarro , Camille, 24, 67
Plato,xv, 82, 83, 108, 132,201,202,203,225,
Raphael, 337
Ratz, Erwin, 239
Ravel , Maurice, 1 8 5
Rembrandt van Rijn, 9, 1 10
Renoir, Pierre Auguste, 67
Resch, Walter, 280, 327
Riegl,Alois,60, 146, 169
Riesmann,David, 1 16, 374 n. 2
Rilke, Rainer Maria, 1 12, 237 Rimbaud,Arthur,3-4,20,22,33,46,93, 192,
237 , 3 1 6
Rosenkranz, Karl, 46
Rossini, Gioacchino, 106 Rousseau , Jean-Jacques, 63-64, 68
Sade, Marquis de, 132 Saint-Saens,Camille,20,301
Saint-Simon, Claude, 76, 218
Sartre, Jean-Paul, 236, 242, 256, 347, 375 n. 1 8 Scharoun,H. B. ,44 Schelling,Friedrich,47,61,72,77,78,91, 110,
130, 222, 344
Schikaneder, Emmanuel, 268
Schiller, Friedrich, 27, 28, 62, 151 , 161 , 17 1 ,
197, 226, 234, 303, 317 Schlegel,Friedrich, 366 Schlosser, Katesa, 327 , 375 n.
