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NOTES TO PAGES 327-37 377

11. See Walther F. E. Resch, "Gedanken zur stilistischen Gliederung der Tierdarstellungen in der nordafrikanischen Felsbildkunst," in Paideuma, Mitteilungen zurKulturkunde, vol. 11 (1965),pp. 108ff. 12. See Konrad Lorenz, "Die angeborenen Formen moglicher Erfahrung," in Zeitschrift fur Tierpsychologie, vol. 5, p. 258; , "Uber einige Kategorien des entlasteten, zumal des asthetischen Verhaltens," in Studien zur Anthropologie und Soziologie (Neuwied and Berlin, 1963), pp. 69ff. 13. 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, Einfuhrung in die Entwicklungspsychologie (Leipzig, 1926), p. 269. 15. Krause, "Maske und Ahnenfigur," pp. 223ff. 16. Ibid., p. 224.

Draft Introductio n 1. Ivo Frenzel, "Asthetik," in Philosophic, ed. A. Diemer and I. Frenzel, vol. 11 (, 1958), p. 35. 2. See Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London, 1977), pp.43ff. 3. See Adorno, "Notes on Kafka," in Prisms, trans. Samuel Weber and Shierry Weber (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 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 rather than 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, , trans. Werner S. Pluhar (Indianapolis, 1987), p. 120, 6. "The sublime, however, can also be found in a formless object, insofar as we present unbounded- 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 Phdnomenologie des asthetischen Gegen- standes (Zurich and Leipzig, 1938). 8. [Adorno is referring to Hermann Cohen, Asthetik des reinen Gefuhls (Leipzig, 1912).—trans.] 9. See , The World as Will and Representation (New York, 1963), pp. 521ff. 10. [Karl Gustav Jochmann (1789-1830), the German scholar and political author known for his 378 NOTES TO PAGES 337-63

Studies on Protestantism and, most important, On Language, a sociopolitical study of language. See , "Carl Gustav Jochmann: Die Ruckschritte der Poesie," in Schriften, ed. Th. W. Adorno and G. Adorno, vol. 2.2 (Frankfurt, 1955), pp. 572ff.—trans.] 11. See Hanns Gutman, "Literaten haben die Oper erfunden," in Anbruch, vol. 11 (1929), pp. 256ff. 12. [A satirical Munich weekly that appeared 1896-1944, published initially by A. Langer and Th. Heine.—trans.] 13. See Adorno, "Parataxis: On Holderlin's Late Poetry," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), pp. 109ff. 14. See Pierre Boulez, "N6cessite" d'une orientation esth&ique," in Zeugnisse: Theodor W. Adorno van Sechzigsten Geburtstag, ed. M. Horkheimer (Frankfurt, 1963), p. 334ff. 15. See , "First Introduction to the Science of Knowledge," in /. G. Fichte: Science of Knowledge, ed. and trans. Peter Heath and John Lachs (Cambridge, 1982), pp. 3-28. 16. See Adorno, Hegel: Three Studies, trans. Shierry Weber (Boston, 1993). 17. See Max Horkheimer and Adorno, of Enlightenment, trans. John Gumming (New York, 1972), pp. 187-200. 18. See Adorno, "On Lyric Poetry and Society," in Notes to Literature, vol. 1, pp. 34ff. 19. See Adorno, Introduction to the of Music, trans. Ashton (New York, 1976), chapter 12. 20. See Adorno, "tJber das gegenwartige Verhaltnis von Philosophic und Musik," in Filosofia dell'arte (Rome and Milan, 1953), pp. 5ff.

Editors' Afterword 1. [Translated by E. B. Ashton (New York, 1963).—trans.] 2. [Although Adorno did not write the book on moral , his lectures on the topic will be published as Probleme der Moralphilosophie in volume 10 of his posthumous .—trans.] 3. [Translated, edited, and with an introduction by Robert Hullot-Kentor (Minneapolis, 1989).— trans.] 4. [Translated with introduction and annotation by Juliane Brand and Christopher Hailey (Cam- bridge, 1991).—trans.] 5. ["Einleitung zu Emile Durkheim Soziologie und Philosophic," in Gesammelte Schriften vol. 8, p. 245.—trans.] 6. ["Charmed Language: On the Poetry of Rudolf Borchardt," in Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York, 1992), p. 193.-trans.] 7. [Translated by Glyn Adley and David Frisby (London, 1976).—trans.] 8. [Adomo, "Marginalia zu Theorie und ," in Stichworte, Gesammelte Schriften, vol. 10.1 (Frankfurt, 1977), p. 759.-trans.]