Abstract

This essay argues that Theodor Adorno’s reflections on the novel form respond to a problem that is focused in his commentaries on the cinema: how to develop forms of aesthetic rationality at a historical moment in which medium-specific aesthetic reflection may be obsolete. Adorno’s commentaries on novelistic and filmic language register this historical situation of art. At the same time, this line of thought serves a crucial underlying interest of Adorno’s aesthetic theory – to maintain art’s thought of uneven development, its vanishing distinction from the technological forms of its social context.

Additional Information

ISSN
1053-1920
Launched on MUSE
2016-02-16
Open Access
No
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