So I told myself that I would do Part II of “In Which the Long Nineteenth Century Stretches its Legs,” but I didn’t. Here is, instead, a little snippet from the Stanford Encyclopedia of Philsophy page on Adorno:

Because of the shift in capitalism’s structure, and because of Adorno’s own complex emphasis on (modern) art’s autonomy, he doubts both the effectiveness and the legitimacy of tendentious, agitative, or deliberately consciousness-raising art. Yet he does see politically engaged art as a partial corrective to the bankrupt aestheticism of much mainstream art. Under the conditions of late capitalism, the best art, and politically the most effective, so thoroughly works out its own internal contradictions that the hidden contradictions in society can no longer be ignored. The plays of Samuel Beckett, to whom Adorno had intended to dedicateAesthetic Theory, are emblematic in that regard. Adorno finds them more true than many other artworks.

Seems relevant to the things I’ve been thinking of.

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