und Organisation," in
Individuum
und Organisation, ed.
Theoder-Adorno-Aesthetic-Theory
[The "blue flower" is the "blaue Blume" ofNovalis's Heinrich von Ofterdingen, which became a symbol of romantic longing.
-trans.
]
9. [Apunningabbreviationof"AvenueoftheElector"to"AvenueoftheCows". -trans. J
10. [Schoenberg ' s own description of his technique in "Composition with Twelve Tone s ," in Style
and Idea, pp. 214-245. -trans. J
374 0 NOTES TO PAGES 224-66
I I . Charles Baudelaire, "To Arsene Houssaye," in The Poems in Prose, trans. F. Scarfe (London, 1989),p. 25.
Society
1 . See Karl Marx and Friedrich Engels, Theories ofSurplus Value, vol. I (Moscow, 1968), p. 389. 2. [See Adorno et aI. , The Authoritarian Personality (New York, 1982). -trans. ]
3. Jean-Paul Sartre, What Is Literature (New York, 1965), p. 2 1 .
4 . See Briefwechsel zwischen George und Hofmannsthal, ed. R . Boehringer (Munich and DUssel-
dorf, 1953), p. 42.
5. [Erwin Ratz (1893-1973), the Austrian musicologist, a student of Schoenberg and later of
Webern,bestknownforhisEinfihi rungindiemusikalischeFonnenlehre(1968). -trans. ]
6. See Friedrich Holderlin, "At One Time I Questioned the Muse," in Friedrich Holderlin: Poems
and Fragments, trans. Michael Hamburger (Cambridge, 1966), pp. 537-539.
7. [This discussion is based on the distinction between "Erlebnis," or lived experience, and
"Erfahrung," or comprehended experience, a distinction for which there is no comparable pair of succinct English concepts. -trans. ]
8. [See Brecht's play The Measures Taken, in Collected Plays, ed. R. Mannheim and John Willett (New York, 1 97 1 ) , in which spontaneous human sympathy is sacrificed to the ostensibly higher good of party discipline. -trans. ]
9. [Amo Holz ( 1 863-1929), a leading German naturalist writer who in poems, plays, and essays ironically and satirically criticized contemporary politics and religion. -trans. ]
10. See Stefan George, "Neulandische Liebesmahle II," in Wake, ed. R. Boehringer, vol . I (Munich and Dusseldorf, 1958), p. 14.
I I . "0 mutter meiner mutter und Erlauchte," ibid. , p. 50.
12. [Hermann Sudermann (1857-1928), a leading naturalist writer best known for plays that are often melodramatic and remote from the political reality they claim to treat . - trans. ]
1 3 . [Edward Steuermann ( 1 892-1964), the pianist , composer, and longtime friend and teacher of Adorno. - trans. ]
14. [See Marcuse, "Uber den affirmativen Charakter der Kultur," in Schriften, vol. 3 (Frankfurt, 1979),pp. 186-226. -trans. ]
1 5 . See Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illumina- tions, trans . Harry Zohn (New York, 1 968).
16. [Karl Theodor Kasimer Meyerhold ( 1874-1940), the Russian actor and director whose theater, charged with formalism, was closed in 1938, after which he was arrested and probably executed. - trans. ]
17. ["Art informeUe," the European art movement that paralleled American abstract expression- ism. See Adorno's "Vers une musique informelle," in Quasi una Fantasia, trans. Rodney Livingstone (London, 1992), pp. 269-322. -trans. ]
1 8 . [Here Adorno to some extent presupposes familiarity with his description of the hybridization or fragmentation of the arts, the "Verfransung" of art, which is the topic of his essay "Die Kunst und die Kunste," in Ohne Leitbild, Gesammelte Schriften, vol. 10. 1 (Frankfurt, 1977), pp. 432-453- trans. ]
Paralipomena
1 . See Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illumina- tions, trans. Harry Zohn (New York, 1968), pp. 217ff.
2. [See David Riesmann, The Lonely Crowd (New Haven, 1958)-trans. ]
NOTESTOPAGES268-98 0 375
3. [Emanuel Johann Jakob Schikaneder (1751-1812), the German actor, singer, and playwright who made his career in Austria and is now known primarily as the author of the libretto for Mozart's The Magic Flute. Johann Jakob Bachofen (1815-1887), the mythologist and author ofthe romantic, diffuse, and seminal Das Mutterrecht. -trans. )
4. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222-223.
5. ["das sich Entringende": See note 7 in "Semblance and Expression. "-trans. }
6. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222-223.
7 . [From Johann Wolfgang von Goethe, Faust, conclusion of scene I , "Night. " -trans. }
8. [See note 5 on "Sprachcharakter" in "Semblance and Expression. " -trans. )
9. "The paradox of everything that can rightly be called beautiful is that it appears. " See Benjamin,
Schriften, ed. Th. W. Adorno and G. Adorno, vol. I (Frankfurt, 1955), p. 549.
10. Quoted in Erik Holm, "Felskunst im siidlichen Mrika," in Kunst der Welt: Die Steinzeit
(Baden-Baden, 1960) pp. 197f.
1 1 . Walther F. E. Resch, "Gedanken zur stilistischen Gliedernng der Tierdarstellungen in der
nordafrikanishen Felsbildknnst," in PaideuTM, Mitteilungen zur Kulturkunde, vol. I I , 1965.
12. 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.
9. [Apunningabbreviationof"AvenueoftheElector"to"AvenueoftheCows". -trans. J
10. [Schoenberg ' s own description of his technique in "Composition with Twelve Tone s ," in Style
and Idea, pp. 214-245. -trans. J
374 0 NOTES TO PAGES 224-66
I I . Charles Baudelaire, "To Arsene Houssaye," in The Poems in Prose, trans. F. Scarfe (London, 1989),p. 25.
Society
1 . See Karl Marx and Friedrich Engels, Theories ofSurplus Value, vol. I (Moscow, 1968), p. 389. 2. [See Adorno et aI. , The Authoritarian Personality (New York, 1982). -trans. ]
3. Jean-Paul Sartre, What Is Literature (New York, 1965), p. 2 1 .
4 . See Briefwechsel zwischen George und Hofmannsthal, ed. R . Boehringer (Munich and DUssel-
dorf, 1953), p. 42.
5. [Erwin Ratz (1893-1973), the Austrian musicologist, a student of Schoenberg and later of
Webern,bestknownforhisEinfihi rungindiemusikalischeFonnenlehre(1968). -trans. ]
6. See Friedrich Holderlin, "At One Time I Questioned the Muse," in Friedrich Holderlin: Poems
and Fragments, trans. Michael Hamburger (Cambridge, 1966), pp. 537-539.
7. [This discussion is based on the distinction between "Erlebnis," or lived experience, and
"Erfahrung," or comprehended experience, a distinction for which there is no comparable pair of succinct English concepts. -trans. ]
8. [See Brecht's play The Measures Taken, in Collected Plays, ed. R. Mannheim and John Willett (New York, 1 97 1 ) , in which spontaneous human sympathy is sacrificed to the ostensibly higher good of party discipline. -trans. ]
9. [Amo Holz ( 1 863-1929), a leading German naturalist writer who in poems, plays, and essays ironically and satirically criticized contemporary politics and religion. -trans. ]
10. See Stefan George, "Neulandische Liebesmahle II," in Wake, ed. R. Boehringer, vol . I (Munich and Dusseldorf, 1958), p. 14.
I I . "0 mutter meiner mutter und Erlauchte," ibid. , p. 50.
12. [Hermann Sudermann (1857-1928), a leading naturalist writer best known for plays that are often melodramatic and remote from the political reality they claim to treat . - trans. ]
1 3 . [Edward Steuermann ( 1 892-1964), the pianist , composer, and longtime friend and teacher of Adorno. - trans. ]
14. [See Marcuse, "Uber den affirmativen Charakter der Kultur," in Schriften, vol. 3 (Frankfurt, 1979),pp. 186-226. -trans. ]
1 5 . See Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illumina- tions, trans . Harry Zohn (New York, 1 968).
16. [Karl Theodor Kasimer Meyerhold ( 1874-1940), the Russian actor and director whose theater, charged with formalism, was closed in 1938, after which he was arrested and probably executed. - trans. ]
17. ["Art informeUe," the European art movement that paralleled American abstract expression- ism. See Adorno's "Vers une musique informelle," in Quasi una Fantasia, trans. Rodney Livingstone (London, 1992), pp. 269-322. -trans. ]
1 8 . [Here Adorno to some extent presupposes familiarity with his description of the hybridization or fragmentation of the arts, the "Verfransung" of art, which is the topic of his essay "Die Kunst und die Kunste," in Ohne Leitbild, Gesammelte Schriften, vol. 10. 1 (Frankfurt, 1977), pp. 432-453- trans. ]
Paralipomena
1 . See Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illumina- tions, trans. Harry Zohn (New York, 1968), pp. 217ff.
2. [See David Riesmann, The Lonely Crowd (New Haven, 1958)-trans. ]
NOTESTOPAGES268-98 0 375
3. [Emanuel Johann Jakob Schikaneder (1751-1812), the German actor, singer, and playwright who made his career in Austria and is now known primarily as the author of the libretto for Mozart's The Magic Flute. Johann Jakob Bachofen (1815-1887), the mythologist and author ofthe romantic, diffuse, and seminal Das Mutterrecht. -trans. )
4. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222-223.
5. ["das sich Entringende": See note 7 in "Semblance and Expression. "-trans. }
6. Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, pp. 222-223.
7 . [From Johann Wolfgang von Goethe, Faust, conclusion of scene I , "Night. " -trans. }
8. [See note 5 on "Sprachcharakter" in "Semblance and Expression. " -trans. )
9. "The paradox of everything that can rightly be called beautiful is that it appears. " See Benjamin,
Schriften, ed. Th. W. Adorno and G. Adorno, vol. I (Frankfurt, 1955), p. 549.
10. Quoted in Erik Holm, "Felskunst im siidlichen Mrika," in Kunst der Welt: Die Steinzeit
(Baden-Baden, 1960) pp. 197f.
1 1 . Walther F. E. Resch, "Gedanken zur stilistischen Gliedernng der Tierdarstellungen in der
nordafrikanishen Felsbildknnst," in PaideuTM, Mitteilungen zur Kulturkunde, vol. I I , 1965.
12. 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.
