Aesthetics by Theodor W. Adorno

Author:Theodor W. Adorno
Language: eng
Format: epub, azw3
Published: 2017-12-06T05:00:00+00:00

Notes

1 Plato, Phaedrus, p. 34 (250c).

2 Ibid., 250d.

3 The term ‘logistics’, which in contemporary parlance refers (based on the term for military supply systems) only to the organization of transport services, was used from the early twentieth century to the 1960s as the title of a philosophical discipline, namely the expanded research fields of formal logic (symbolic logic, mathematical logic, algebra of logic, etc.); see Günter Patzig, ‘Logistik’, in Das Fischer Lexikon, vol. 11: Philosophie, ed. A. Diemer and I. Frenzel (Frankfurt: S. Fischer, 1958), pp. 160–73, and Joseph M. Bochenski and Albert Menne, Grundriss der Logistik (Paderborn: Schöningh, 1954).

4 On the concept of ‘shadings’, see Edmund Husserl, Ideas: General Introduction to Pure Phenomenology, trans. W. R. Boyce Gibson (London and New York: Routledge, 2014), p. 134. See also Adorno, Against Epistemology, p. 184 [translated there as ‘adumbrations’], as well as ‘Zur Philosophie Husserls’, in Gesammelte Schriften, vol. 20.1: Vermischte Schriften I, pp. 59f., and even ‘Die Transzendenz des Dinglichen und Noematischen in Husserls Phänomenologie’, in Gesammelte Schriften, vol. 1: Philosophische Frühschriften, p. 22.

5 In Platonic thought, individual things are named specifically only by virtue of their ‘partaking’ (Gr. μέϑεχις) in the forms (see Phaedo 102b, Parmenides 130e–133d and Timaeus 52a). The notion of participation is also meant to convey that a particular content can inhere in a thing to a greater or lesser extent; this graduality is indirectly expressed in references to ‘parts’.

6 Plato, Phaedrus, p. 34 (250e).

7 Ibid., pp. 34f. (251a–b).

8 Wolfgang Amadeus Mozart, The Marriage of Figaro (1786), K 492; Act 2, scene 2, no. 12, bars. 29–36: ‘I feel an emotion full of desire, that is now pleasure, and now suffering.’

9 See Søren Kierkegaard, Either/Or, trans. Alastair Hannay (London: Penguin, 1992), p. 87.

10 See Walter Benjamin, One-Way Street, in One-Way Street and Other Writings, trans. J. A. Underwood (London: Penguin, 2009), p. 81: ‘With everything that is justly termed beautiful, its appearing seems paradoxical.’

11 This sentence is marked by Adorno in the typescript.

12 See Lecture 1, note 8.

13 For a critique of the idealistic concept of the symbol, see Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London and New York: Verso, 1998), pp. 160ff.

14 Gap in the text due to change of tape.

15 See Adalbert Stifter, Der Nachsommer (1857), in Werke, ed. Uwe Japp and Hans Joachim Piechotta (Frankfurt: Insel, 1978), vol. 3, pp. 400 and 453.

16 There is no such stage direction in Wedekind's Lulu play Earth Spirit (1895) or the later version, Pandora's Box (1904). Possibly Adorno is referring to a version in Wedekind's literary remains which he had already examined closely in 1932; see ‘On the Legacy of Frank Wedekind’, in Notes to Literature, vol. 2, pp. 274–9.

17 Walter Benjamin pointed out an anticipation of tendencies that would become fully manifest only in the Jugendstil of the early twentieth century, in the work of the French poet Charles Baudelaire (1821–1867), whom he actually considered more of a modernist antipode to Jugendstil. See Benjamin, ‘Central Park’ (1939–40), in Selected Writings, vol. 4: 1938–1940 (Cambridge, MA: Harvard University Press, 2003), pp.

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