[The
original
text is as foIlows.
Theoder-Adorno-Aesthetic-Theory
[Originally published in OEuvres, vol.
2 (Paris, 1957), p.
681 .
-trans.
]
8. Rudolf Borchardt, "Tagelied," ["Tod, sitz aufs Bett, und Herzen, horcht hinaus: / Ein alter Mann zeigt in den schwachen Schein / Unterm Rand des ersten Blaus: I Fiir Gott, den Ungebornen, stehe I Ich euch ein: / Welt, und sei dir noch so wehe, / Es kehrt von Anfang, alles ist noch dein! "- trans . ]
9. Georg WilhelmFriedrich Hegel,Aesthetics. trans. T. M. Knox, vol. 1 (Oxford, 1975), p. 123. [Translation amended. -trans. ]
10. Ibid.
1 1 . See Adorno, Hegel: Three Studies, trans. Shierry Weber (Boston, 1993), pp. 89ff.
12. Hegel,Aesthetics, vol. I , p. 134.
13. Ibid.
14. Ibid. , p. 142.
15. Ibid. , p. 152.
16. ["Sosein"istheGermantranslationoftheLatin"quiddity,"thewhatness,oressenceofanobject
as opposed to its existence . In Adorno' s work , however, "Sosein" becomes the equivalent of Beckett's "Comment c'est". -trans. ]
Art Beauty: Apparition, Spiritualization, Intuitability
I . Walter Benjamin, "On Some Motifs in Baudelaire," in Illuminations. trans. Harry Zohn (New York, 1968),pp. 155-200.
2. See Bertolt Brecht, "Die Liebenden," in Gedichte 11 (Frankfurt, 1960), p. 210.
3 . ["authentische Kunstwerke": Whenever Adorno, the author o f Jargon der Eigentlichkeit (The Jargon ofAuthenticity. trans. Knut Tarnowsky and Frederic Will, Evanston, 1976) and archcritic of Heideggerian "authenticity" (Eigentlichkeit), uses the concept of authenticity in a positive sense, he always employs the GreeklFrench loan word "Authentizitiit" rather than the German root word "Eigentlichkeit" or the adjective "echt. "-trans. ]
4. SeeGeorgWilhelmFriedrichHegel,Aesthetics. trans. T. M. Knox(Oxford,1975),vol. I,p. 31: "Man does this [that i s , he transposes the external world o n which he impresses the seal of his inferior- ity -trans. ] in order, as a free subject, to strip the external world of its inflexible foreignness and to enjoy in the shape of things only an external realization of himself. "
5. [Although the word "apparition" exists in German as "Apparition," Adorno throughout uses the French concept and makes this obvious in the German by not capitalizing the first letter. - trans. ]
6. ["der fruchtbare Moment": Gotthold Ephraim Lessing's concept of the highest moment of aes- thetic tension, which he developed in his interpretation of the Laocoon sculpture. See his Laocoon. trans. Edward McCormick (Baltimore, 1962)-trans. ]
7. SeeLeoPerutz,DerMeisterdesjiingsten Tages (Munich, 1924),p. 199.
8. [See Frank Wedekind, Spring Awakening. trans. Tom Osborne (London, 1969), p. 52. - trans . ]
NOTESTOPAGES84-114 0 371
9 . [Wols is the pseudonym of Wolfgang Schulze ( 1 9 1 3 - 1 95 1 ) , a German expatriot and a key fig- ure ofFrench art informelle. -trans. J
10. ["Erfahrungsgehalt": This is a central concept of Adorno's philosophy, and it is easily lost track of in translation. See Adorno, "The Experiential Content of Hegel's Philosophy," in Hegel: Three Studies, trans. Shierry Weber (Boston, 1993), pp. 53ff. -trans. J
1 1 . ["Phiinomen": "Phenomenon" is here implicitly contrasted with noumenon. -trans. )
12. Immanuel Kant, Critique ofJudgment, trans. Werner S. Pluhar (Indianapolis, 1987), p. 97.
13. Hermann Lotze, Geschichte derAesthetik in Deutschland (Munich, 1868), p. 190.
1 4 . A s in the whole o fhis philosophy, Hegel's doctrine o fthe artwork as spiritual, which h ejustly
conceived historically, is the reflexive fulfillment of Kant's thought. Kant's "disinterested satisfaction" implies recognition of the aesthetic as spiritual through the negation of its own opposite.
1 5 . ["Anschaulichkeit," the character of an object such that it is possible or necessary to enter into immediate, nonconceptual contact with it. Eymologically, this immediacy of relationship is modeled on vision. See M. Inwood,A Hegel Dictionary (London, 1992). -trans. )
16. Kant, Critique ofJudgment, p. 6 1 .
17. Ibid. , p. 43.
1 8 . See Theodor A . Meyer, Das Stilgesetz der Poesie (Leipzig , 1 90 1 ) .
1 9 . Martin Heidegger, "The Origin of the Work of Art," i n Poetry, Language, and Thought (New
York, 1971),pp. 15-88.
Semblance and Expression
1 . See Adorno, ln Search ofWagner, trans. Rodney Livingstone (London, 1981), pp. 85ff.
2. ["was asthetisch der Fall sei": This is a reference to Wittgenstein's Tractatus Lagico- Philosophicus, seenote3in"Situation. "-trans. )
3. See Adorno, "On the Classicism of Goethe's Iphigenie," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), pp. 153ff.
4. ["So ist es": See note 16 on "Sosein" in "Natural Beauty. "-trans. )
5. ["Sprachcharakter": There is no adequate translation for this concept as Adorno uses it. Its meaning , however, is partly elucidated by a group of related ideas in which Adorno conceives the art- work as something that is, or becomes "beredt" (fluent, expressive), where something comes to or finds "Sprache. " This is a speech where language itself is not necessarily the medium. "Eloquence" has, as a potential, just this implication, and it has therefore been used, reluctantly , for all of the above concepts in one way or another. The problem is, of course , that the English concept tends to emphasize an unconflicted sort of fluency and persuasiveness. Adorno, however, is not at all concerned with per- suasion but rather with expression as gesture , cipher, countenance , script and speech as it arises out of brokenness, fragmentariness or fissuredness. "Eloquence," furthermore, importantly forfeits the idea of script, which is a palpable aspect of "Sprachcharakter. " But "script" would forfeit the quality of speaking and in any case, when Adorno wants to emphasize "script" he uses "Schrift" or, in other writ- ings than Aesthetic Theory, "ecriture. " -trans. ]
6. Rainer Maria Rilke, "Archiiischer Torso Apollos," in Siimtliche Werke, ed. E. Zinn, vol. I (Wiesbaden, 1955), p. 557. "Denn da ist keine Stelle, / die dich nieht sieht. " [See also "Torso of an Archaic Apollo," in Selected Poems, trans. C. F. MacIntyre (Berkeley, 1964), pp. 92-93. -trans. )
7. ["wie es entspringt, sich entringt": This passage is constructed out of the central concepts of Walter Benjamin's The Origin ofGerman Tragic Drama, trans. John Osborne (London, 1977). In this line Adorno effectively explicates Benjamin's concept of origin - the Ursprung, the original leap -as bothaleapoutofandawrestingfree. SeeBenjamin,TheOriginofGerman TragicDrama, p. 45. - trans . )
8 . See Adorno, "Reminiscence," Alban Berg: Master. of the Smallest Link, trans. Juliane Brand and Christopher Hailey (Cambridge, 1 99 1 ) , pp. 9ff.
372 0 NOTES TO PAGES 1 14-64
9. [Here Adorno quotes the last line from his "Vers une musique infonneIle," in Quasi una Fan- tasia, trans. Rodney Livingstone (London, 1992) , p. 322 (translation amended). -trans. ]
10. [See Adorno et al. , The Authoritarian Personality (New York, 1982), pp. 163ff. -trans. ] Enigmaticalness, Truth Content, Metaphysics
1. SeeAdorno,"MeditationsonMetaphysics,"inNegativeDialectics,trans. E. B. Ashton,(New York, 1973), pp. 361ff.
2. Georg Trak! , "Psalm," trans. Dallas Wiebe, in The Sixties 8 (Spring, 1966), pp. 37-38.
3. Eduard Morike, Samtliche Werke, ed. J. Perfahl et aI. , vol. 1 (Munich, 1968), p. 855.
[The original text is as foIlows. -trans. ]
Mausfallen-Spriichlein
Das Kind geht dreimal urn die Falle und spricht:
Kleine Gaste, kleines Haus.
Liebe Mausin,oder Maus,
Stell dich nur kecklich ein
Heut nacht beim Mondenschein! Mach aber die Tiir fein hinter dir zu, Horst du?
Dabei hUte dein Schwanzchen! Nach Tische singen wir
Nach Tische springen wir
Vnd machen ein Tanzchen: Witt witt!
Meine alte Katze tanzt wahrscheinlich mit. 4. [See note 16 on "Sosein" in "Natural Beauty. " -trans. ]
Coherence and Meaning
1 . See Georg LuIcac s , The Meaning of Contemporary Realism (London , 1 962).
2 . S e e Arn o l d Ze i s i n g , A e s t h e t i s c h e Fo r s c h u n g e n ( F r a n k fu r t , 1 8 8 5 ) .
3 . See Erwin Stein, "Neue Fonnprinzipien," in Von neuer Musik (Cologne , 1 9 2 5 ) , p p . 59ff.
4. See Arnold Schoenberg, "Aphorismen," in Die Musik, vol. 9 (1909-1910), pp. 159ff.
5. Karl Kraus. Literatur and LUge. ed. H. Fischer (Munich. 1958). p. 14.
6. Bertolt Brecht, "FUnf Schwierigkeiten beim Schreiben der Wahrheit," in Gesammelte Werke,
vol. 18 (Frankfurt, 1967), p. 225.
7. GUntherAnders,DieAntiquiertheitdesMenschen (Munich, 1956),pp. 213ff.
8. See Lukacs, The Theory ofthe Novel, trans. A. Balarian (Cambridge, 1971).
9. Adorno, "Is Art Lighthearted? " in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2
(New York, 1992), pp. 247ff.
10. [Joachim Winckelmann's seminal characterization of Greek sculpture in "Thoughts on the
Imitation of Greek Works in Painting and Sculpture" (I775). -trans. ] II. SeePaulValery,CEuvres,ed. J. Hytier,vol. 2(Paris, 1966),pp. 565ff.
SUbject-Object
1 . Immanuel Kant, Critique ofJudgment, trans. Werner S. Pluhar (Indianapolis, 1987), p. 43. 2. Ibid.
NOTES TO PAGES 165-219 0 373
3. Ibid. , p. 64.
4. Adorno, Notes to Literature. trans. Shierry Weber Nicholsen, vol. 2 (New York, 1 992), p. 163. [Translation amended. -trans. ]
5. ["Der Begriff des Urspriinglichen": The reference to Benjamin has been interpolated here by the translator. See note 7 in "Semblance and Expression. " -trans. ]
Toward a Theory of the Artwork
I . See Stephan George. "The Tapestry," from The Tapestry of Life. in The Works of Stefan George. trans. MarxandMerwitz(ChapelHill, 1974),p. 185. [Thetapestryismerely"barer nlines," its parts "at strife . . . until one night the fabric leaps to life . " - trans. ]
2. See Immanuel Kant, Critique ofJudgment. trans. Werner S. Pluhar (Indianapolis, 1987), p. 169.
3. [See Hans Christian Andersen, ''The Nightingale," in The Complete Fairy Tales and Stories. trans. E. C. Haugaard (New York, 1974), pp. 203-212; see also Igor Stravinsky, The Nightingale. - trans. ]
4. See Adorno. "Die Kunst und die Kiinste," in Ohne Leitbild. Gesammelte Schriften, vol. IOJ (Frankfurt, 1977), pp. 168ff.
5 . See Walter Benjamin, One Way Street and Other Writings, trans . Edmund Jephott and Kingley Shorter (London, 1979), p . 66.
6. See Adorno, Moments musicaux (Frankfurt, 1964}, pp. 167ff.
7. See Friedrich Holderiin, Gedichte nach 1800. in Siimtliche Werke. ed. F. BeiSner, vol. 2 (Stuttgart, 1953), p. 328.
8 . Karl Marx, Preface to A Contribution to the Critique of Political Economy. trans . N . Stone (Chicago, 1904), p. 12. ["Mankind always takes up only such problems as it can solve. -trans. ]
9. See Benjamin, "Some Motifs in Baudelaire," in Illuminations, trans. Harry Zohn (New York, 1968),p. 188.
10. Benjamin, ''Theses on the Philosophy ofHistory," in Illuminations. p. 257. Universal and Particular
1. [AugustHalm(1869-1929),themusicologistandauthorofHannonielehre(1905)andessays collectedin Von Form undSinnderMusik(1978}. -trans. J
2. [See Adorno et al. , The Authoritarian Personality (New York, 1982), pp. 275f. -trans. ]
3. See Walter Benjamin, The Correspondence of Walter Benjamin 1910-1940, ed. Gershom S c h o l e m a n d T . W . A d o rn o , tr a n s . M a n fr e d J a c o b s o n a n d E v e l y n J a c o b s o n ( C h i c a g o , 1 9 9 4 } , p . 8 0 .
4. See Adorno, Minima Moralia. trans. E. F. N. Jephcott (London, 1974), pp. 206ff.
5. See Kurt Mautz, "Die Farhensprache der expressionistischen Lyrik," in Deutsche Viertel- jahrsschrift flir Uteraturwissenschaft und Geistesgeschichte. vol. 31 (1957), pp. 198ff. [See also Wassily Kandinsky, Concerning the Spiritual in Art. trans. M. T. H. Sadler (New York, 1946). -
trans. ]
6. [Adorno is quoting from his "Die Kunst und die Kiinste," in Ohne Leitbild, Gesammelte
Schriften. vol. 10. 1 (Frankfurt, 1977). -trans. ]
7. See Arnold Schoenberg, "Problems in Teaching Art," in Style and Idea. ed. Leonard Stein,
trans. Leo Black (Berkeley, 1975), pp. 365-368.
8. See Walter Benjamin, Schriften, ed. Th. W. AdOI'PO and G. Adorno, vol. 1 (Frankfurt, 1955),
p. 421 . [The "blue flower" is the "blaue Blume" ofNovalis's Heinrich von Ofterdingen, which became a symbol of romantic longing. -trans. ]
9.
8. Rudolf Borchardt, "Tagelied," ["Tod, sitz aufs Bett, und Herzen, horcht hinaus: / Ein alter Mann zeigt in den schwachen Schein / Unterm Rand des ersten Blaus: I Fiir Gott, den Ungebornen, stehe I Ich euch ein: / Welt, und sei dir noch so wehe, / Es kehrt von Anfang, alles ist noch dein! "- trans . ]
9. Georg WilhelmFriedrich Hegel,Aesthetics. trans. T. M. Knox, vol. 1 (Oxford, 1975), p. 123. [Translation amended. -trans. ]
10. Ibid.
1 1 . See Adorno, Hegel: Three Studies, trans. Shierry Weber (Boston, 1993), pp. 89ff.
12. Hegel,Aesthetics, vol. I , p. 134.
13. Ibid.
14. Ibid. , p. 142.
15. Ibid. , p. 152.
16. ["Sosein"istheGermantranslationoftheLatin"quiddity,"thewhatness,oressenceofanobject
as opposed to its existence . In Adorno' s work , however, "Sosein" becomes the equivalent of Beckett's "Comment c'est". -trans. ]
Art Beauty: Apparition, Spiritualization, Intuitability
I . Walter Benjamin, "On Some Motifs in Baudelaire," in Illuminations. trans. Harry Zohn (New York, 1968),pp. 155-200.
2. See Bertolt Brecht, "Die Liebenden," in Gedichte 11 (Frankfurt, 1960), p. 210.
3 . ["authentische Kunstwerke": Whenever Adorno, the author o f Jargon der Eigentlichkeit (The Jargon ofAuthenticity. trans. Knut Tarnowsky and Frederic Will, Evanston, 1976) and archcritic of Heideggerian "authenticity" (Eigentlichkeit), uses the concept of authenticity in a positive sense, he always employs the GreeklFrench loan word "Authentizitiit" rather than the German root word "Eigentlichkeit" or the adjective "echt. "-trans. ]
4. SeeGeorgWilhelmFriedrichHegel,Aesthetics. trans. T. M. Knox(Oxford,1975),vol. I,p. 31: "Man does this [that i s , he transposes the external world o n which he impresses the seal of his inferior- ity -trans. ] in order, as a free subject, to strip the external world of its inflexible foreignness and to enjoy in the shape of things only an external realization of himself. "
5. [Although the word "apparition" exists in German as "Apparition," Adorno throughout uses the French concept and makes this obvious in the German by not capitalizing the first letter. - trans. ]
6. ["der fruchtbare Moment": Gotthold Ephraim Lessing's concept of the highest moment of aes- thetic tension, which he developed in his interpretation of the Laocoon sculpture. See his Laocoon. trans. Edward McCormick (Baltimore, 1962)-trans. ]
7. SeeLeoPerutz,DerMeisterdesjiingsten Tages (Munich, 1924),p. 199.
8. [See Frank Wedekind, Spring Awakening. trans. Tom Osborne (London, 1969), p. 52. - trans . ]
NOTESTOPAGES84-114 0 371
9 . [Wols is the pseudonym of Wolfgang Schulze ( 1 9 1 3 - 1 95 1 ) , a German expatriot and a key fig- ure ofFrench art informelle. -trans. J
10. ["Erfahrungsgehalt": This is a central concept of Adorno's philosophy, and it is easily lost track of in translation. See Adorno, "The Experiential Content of Hegel's Philosophy," in Hegel: Three Studies, trans. Shierry Weber (Boston, 1993), pp. 53ff. -trans. J
1 1 . ["Phiinomen": "Phenomenon" is here implicitly contrasted with noumenon. -trans. )
12. Immanuel Kant, Critique ofJudgment, trans. Werner S. Pluhar (Indianapolis, 1987), p. 97.
13. Hermann Lotze, Geschichte derAesthetik in Deutschland (Munich, 1868), p. 190.
1 4 . A s in the whole o fhis philosophy, Hegel's doctrine o fthe artwork as spiritual, which h ejustly
conceived historically, is the reflexive fulfillment of Kant's thought. Kant's "disinterested satisfaction" implies recognition of the aesthetic as spiritual through the negation of its own opposite.
1 5 . ["Anschaulichkeit," the character of an object such that it is possible or necessary to enter into immediate, nonconceptual contact with it. Eymologically, this immediacy of relationship is modeled on vision. See M. Inwood,A Hegel Dictionary (London, 1992). -trans. )
16. Kant, Critique ofJudgment, p. 6 1 .
17. Ibid. , p. 43.
1 8 . See Theodor A . Meyer, Das Stilgesetz der Poesie (Leipzig , 1 90 1 ) .
1 9 . Martin Heidegger, "The Origin of the Work of Art," i n Poetry, Language, and Thought (New
York, 1971),pp. 15-88.
Semblance and Expression
1 . See Adorno, ln Search ofWagner, trans. Rodney Livingstone (London, 1981), pp. 85ff.
2. ["was asthetisch der Fall sei": This is a reference to Wittgenstein's Tractatus Lagico- Philosophicus, seenote3in"Situation. "-trans. )
3. See Adorno, "On the Classicism of Goethe's Iphigenie," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), pp. 153ff.
4. ["So ist es": See note 16 on "Sosein" in "Natural Beauty. "-trans. )
5. ["Sprachcharakter": There is no adequate translation for this concept as Adorno uses it. Its meaning , however, is partly elucidated by a group of related ideas in which Adorno conceives the art- work as something that is, or becomes "beredt" (fluent, expressive), where something comes to or finds "Sprache. " This is a speech where language itself is not necessarily the medium. "Eloquence" has, as a potential, just this implication, and it has therefore been used, reluctantly , for all of the above concepts in one way or another. The problem is, of course , that the English concept tends to emphasize an unconflicted sort of fluency and persuasiveness. Adorno, however, is not at all concerned with per- suasion but rather with expression as gesture , cipher, countenance , script and speech as it arises out of brokenness, fragmentariness or fissuredness. "Eloquence," furthermore, importantly forfeits the idea of script, which is a palpable aspect of "Sprachcharakter. " But "script" would forfeit the quality of speaking and in any case, when Adorno wants to emphasize "script" he uses "Schrift" or, in other writ- ings than Aesthetic Theory, "ecriture. " -trans. ]
6. Rainer Maria Rilke, "Archiiischer Torso Apollos," in Siimtliche Werke, ed. E. Zinn, vol. I (Wiesbaden, 1955), p. 557. "Denn da ist keine Stelle, / die dich nieht sieht. " [See also "Torso of an Archaic Apollo," in Selected Poems, trans. C. F. MacIntyre (Berkeley, 1964), pp. 92-93. -trans. )
7. ["wie es entspringt, sich entringt": This passage is constructed out of the central concepts of Walter Benjamin's The Origin ofGerman Tragic Drama, trans. John Osborne (London, 1977). In this line Adorno effectively explicates Benjamin's concept of origin - the Ursprung, the original leap -as bothaleapoutofandawrestingfree. SeeBenjamin,TheOriginofGerman TragicDrama, p. 45. - trans . )
8 . See Adorno, "Reminiscence," Alban Berg: Master. of the Smallest Link, trans. Juliane Brand and Christopher Hailey (Cambridge, 1 99 1 ) , pp. 9ff.
372 0 NOTES TO PAGES 1 14-64
9. [Here Adorno quotes the last line from his "Vers une musique infonneIle," in Quasi una Fan- tasia, trans. Rodney Livingstone (London, 1992) , p. 322 (translation amended). -trans. ]
10. [See Adorno et al. , The Authoritarian Personality (New York, 1982), pp. 163ff. -trans. ] Enigmaticalness, Truth Content, Metaphysics
1. SeeAdorno,"MeditationsonMetaphysics,"inNegativeDialectics,trans. E. B. Ashton,(New York, 1973), pp. 361ff.
2. Georg Trak! , "Psalm," trans. Dallas Wiebe, in The Sixties 8 (Spring, 1966), pp. 37-38.
3. Eduard Morike, Samtliche Werke, ed. J. Perfahl et aI. , vol. 1 (Munich, 1968), p. 855.
[The original text is as foIlows. -trans. ]
Mausfallen-Spriichlein
Das Kind geht dreimal urn die Falle und spricht:
Kleine Gaste, kleines Haus.
Liebe Mausin,oder Maus,
Stell dich nur kecklich ein
Heut nacht beim Mondenschein! Mach aber die Tiir fein hinter dir zu, Horst du?
Dabei hUte dein Schwanzchen! Nach Tische singen wir
Nach Tische springen wir
Vnd machen ein Tanzchen: Witt witt!
Meine alte Katze tanzt wahrscheinlich mit. 4. [See note 16 on "Sosein" in "Natural Beauty. " -trans. ]
Coherence and Meaning
1 . See Georg LuIcac s , The Meaning of Contemporary Realism (London , 1 962).
2 . S e e Arn o l d Ze i s i n g , A e s t h e t i s c h e Fo r s c h u n g e n ( F r a n k fu r t , 1 8 8 5 ) .
3 . See Erwin Stein, "Neue Fonnprinzipien," in Von neuer Musik (Cologne , 1 9 2 5 ) , p p . 59ff.
4. See Arnold Schoenberg, "Aphorismen," in Die Musik, vol. 9 (1909-1910), pp. 159ff.
5. Karl Kraus. Literatur and LUge. ed. H. Fischer (Munich. 1958). p. 14.
6. Bertolt Brecht, "FUnf Schwierigkeiten beim Schreiben der Wahrheit," in Gesammelte Werke,
vol. 18 (Frankfurt, 1967), p. 225.
7. GUntherAnders,DieAntiquiertheitdesMenschen (Munich, 1956),pp. 213ff.
8. See Lukacs, The Theory ofthe Novel, trans. A. Balarian (Cambridge, 1971).
9. Adorno, "Is Art Lighthearted? " in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2
(New York, 1992), pp. 247ff.
10. [Joachim Winckelmann's seminal characterization of Greek sculpture in "Thoughts on the
Imitation of Greek Works in Painting and Sculpture" (I775). -trans. ] II. SeePaulValery,CEuvres,ed. J. Hytier,vol. 2(Paris, 1966),pp. 565ff.
SUbject-Object
1 . Immanuel Kant, Critique ofJudgment, trans. Werner S. Pluhar (Indianapolis, 1987), p. 43. 2. Ibid.
NOTES TO PAGES 165-219 0 373
3. Ibid. , p. 64.
4. Adorno, Notes to Literature. trans. Shierry Weber Nicholsen, vol. 2 (New York, 1 992), p. 163. [Translation amended. -trans. ]
5. ["Der Begriff des Urspriinglichen": The reference to Benjamin has been interpolated here by the translator. See note 7 in "Semblance and Expression. " -trans. ]
Toward a Theory of the Artwork
I . See Stephan George. "The Tapestry," from The Tapestry of Life. in The Works of Stefan George. trans. MarxandMerwitz(ChapelHill, 1974),p. 185. [Thetapestryismerely"barer nlines," its parts "at strife . . . until one night the fabric leaps to life . " - trans. ]
2. See Immanuel Kant, Critique ofJudgment. trans. Werner S. Pluhar (Indianapolis, 1987), p. 169.
3. [See Hans Christian Andersen, ''The Nightingale," in The Complete Fairy Tales and Stories. trans. E. C. Haugaard (New York, 1974), pp. 203-212; see also Igor Stravinsky, The Nightingale. - trans. ]
4. See Adorno. "Die Kunst und die Kiinste," in Ohne Leitbild. Gesammelte Schriften, vol. IOJ (Frankfurt, 1977), pp. 168ff.
5 . See Walter Benjamin, One Way Street and Other Writings, trans . Edmund Jephott and Kingley Shorter (London, 1979), p . 66.
6. See Adorno, Moments musicaux (Frankfurt, 1964}, pp. 167ff.
7. See Friedrich Holderiin, Gedichte nach 1800. in Siimtliche Werke. ed. F. BeiSner, vol. 2 (Stuttgart, 1953), p. 328.
8 . Karl Marx, Preface to A Contribution to the Critique of Political Economy. trans . N . Stone (Chicago, 1904), p. 12. ["Mankind always takes up only such problems as it can solve. -trans. ]
9. See Benjamin, "Some Motifs in Baudelaire," in Illuminations, trans. Harry Zohn (New York, 1968),p. 188.
10. Benjamin, ''Theses on the Philosophy ofHistory," in Illuminations. p. 257. Universal and Particular
1. [AugustHalm(1869-1929),themusicologistandauthorofHannonielehre(1905)andessays collectedin Von Form undSinnderMusik(1978}. -trans. J
2. [See Adorno et al. , The Authoritarian Personality (New York, 1982), pp. 275f. -trans. ]
3. See Walter Benjamin, The Correspondence of Walter Benjamin 1910-1940, ed. Gershom S c h o l e m a n d T . W . A d o rn o , tr a n s . M a n fr e d J a c o b s o n a n d E v e l y n J a c o b s o n ( C h i c a g o , 1 9 9 4 } , p . 8 0 .
4. See Adorno, Minima Moralia. trans. E. F. N. Jephcott (London, 1974), pp. 206ff.
5. See Kurt Mautz, "Die Farhensprache der expressionistischen Lyrik," in Deutsche Viertel- jahrsschrift flir Uteraturwissenschaft und Geistesgeschichte. vol. 31 (1957), pp. 198ff. [See also Wassily Kandinsky, Concerning the Spiritual in Art. trans. M. T. H. Sadler (New York, 1946). -
trans. ]
6. [Adorno is quoting from his "Die Kunst und die Kiinste," in Ohne Leitbild, Gesammelte
Schriften. vol. 10. 1 (Frankfurt, 1977). -trans. ]
7. See Arnold Schoenberg, "Problems in Teaching Art," in Style and Idea. ed. Leonard Stein,
trans. Leo Black (Berkeley, 1975), pp. 365-368.
8. See Walter Benjamin, Schriften, ed. Th. W. AdOI'PO and G. Adorno, vol. 1 (Frankfurt, 1955),
p. 421 . [The "blue flower" is the "blaue Blume" ofNovalis's Heinrich von Ofterdingen, which became a symbol of romantic longing. -trans. ]
9.
