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

Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.