TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

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Hullot-Kentor eloquently makes the motive behind Adorno‘s criticism of the relationship between alienated commodities and alienated psychological identities palpable. They each point out that what we believe to be natural is the result of an accidental alignment of protective self-possession and the real. Identity is its own history. Fate, as the force of nature within natural history, is an insufficient explanation for the paradoxes produced by the transitory and dialectical identity of individuals as they accidentally name themselves in the face of that ―nature.‖ Given this, Adorno felt that natural history could no longer be used to support portmanteaus like ―Dasein.‖ Adorno would demonstrate in his lecture on natural history that Heidegger proffered the word in his own nationalistic impulse to replace foreign terms in philosophy with German ones. In ―Dasein‖ Adorno sees the same kind of potential for the vitiation of experience and identity signaled by that unforeseeable pun emitted in Odysseus‘ terrified scream. Adorno argues that the identity of the historical facts that ―Dasein‖ dissolves – the transitoriness of nature and history – makes of neologisms only a second degree of linguistic formalism. They are ineffective conduits for the expression of natural history. That is, words become abbreviations for concepts that are expressed in their thinker‘s consciousness only. The negative dialectic, and its reliance upon the name-title relationship, is aimed precisely at de-mythifying the post res identity of this neo-ontological project and the Idealist predisposition for a nominalistic verity that completes itself in the accidental structures and substrates of a subjectivity that is conditioned by the transitoriness of natural history. Adorno‘s dispute with Heidegger is not simply one of taste. Witness to the collapse of Kantian ontologies that attempted to still the debate over historical relativism, 173
Adorno acknowledges that Kant‘s work had led German philosophy into a morass of subjective formalism. Turning to phenomenology for answers, Adorno notices that it also fails to overcome the subjectivistic bias when it assumes the Idealist/ rationalist ratio as its starting point. Like neo-Kantianism, phenomenology posits the dualism of nature and history, winding up in investigations of an essentially ontic structure of being that ignores the historically situated constructions of any particular consciousness. In essence, Adorno rejects as false the idea that being can be understood through an awareness of the ―historicity‖ of a subject. The difference between the historical subject and its emplotment gives to that emplotment an unfair advantage within the autonomous ratio that this kind of phenomenology unknowingly assumes and uses to draw distinctions. Adorno rejects Heidegger‘s Idealism, for, like Kant, it begins with a disposition towards an autonomous reason that has no other mode of expression than subjectively imposed forms. The ratio assumes that ―Being,‖ as a kind of totality, is the only apt claim in which the absolute subject can express its interests. In this it assumes the priority of the actual over the possible in the formation of any subject‘s identity: ―ratio‖ maintains the superiority of the category over its elements. Historicity, the way we categorize phenomena, is an illusory solution to the problem of reconciling the dialectics of nature and history: In the tradition of subjectivistic idealism, historicity assumes their division at the point where categorical thought excludes facticity. Heidegger simply reduces history to nature by subsuming it under historicity. Rather than the reduction of history to a natural fact, Adorno urges, it is necessary to be able to grasp history itself as nature and nature itself as history. This capacity would overcome the subjectivistic predominance of thought over its object and amount to an actual solution to the problem of relativism. (Hullot- Kentor 244) 174
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TABOO: THE ACTUAL MODERNIST AESTHET
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Christopher David Chapman practice.
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CONTENTS PREFACE ..................
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objectification, while titles are a
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ACKNOWLEDGMENTS I would like to ack
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taboo, as the following remark indi
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emind us too hastily only of Benjam
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e renewed in philosophical contempl
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the word “Title.” I do this out
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where fate - the agent of nature‟
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Cantos with Nancy Cunard. The final
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come into their meaning through the
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meaning in the words he appoints to
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―The Role of Language in Trauersp
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God‘s genetic ―pure word,‖ re
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conceived of as a pantomime where t
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ensnared within post-lapsarian syst
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aspects of his linguistic theory th
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decision-making powers, we can demo
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him to transpose arguments about th
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Caesar‖ is an obvious case in poi
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eath of this world, and from it the
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magnanimity wins out in dire and pa
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elegated to the setting in which th
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Notes 1 In an early, unpublished, t
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every locution being, in essence, e
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CHAPTER TWO: LONG SERIES OF TRANSLA
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dramatic monologue, a feat he would
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terms that this chapter wishes to c
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structural factitiousness that the
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is implicit to baroque criticisms o
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meaning of the poems it collects. P
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Pound's fragments as commentary on
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Few critics read these poems in the
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a diorama booth in which his hero a
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the genetic milieu into which it be
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In fact, two complaints can be hear
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while keeping lines that praise Bro
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Cantos deliver a poetic condition i
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Quia Pauper Amavi, and, after McGan
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George Steiner uncovers the ramific
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to register history differently to
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commitment to past modes of critica
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modern poet. Pound exhorted Barry t
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the case, is deliberately making ou
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Pound's genius was to see Propertiu
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delineate Pound's portrayals as fai
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presence of a continuous patina of
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described by Christine Brooke-Rose.
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10) of their rows over fidelity. Fo
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obsessive desire most critics find
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passing from hand to hand, becomes
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Propertius as Propertius once had C
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saw no viable future for his own ex
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then, these imaginary aesthetes wer
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‗persona,‘ an impersonation of
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difference between his intention an
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itself a Western bourgeois assumpti
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subject. Deleuze's 1977 discussion
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his subjectivity as a blend of fact
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eak occurs in the poet's mind as th
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dogmatic binding and over which to
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Pound‘s impersonality, to use the
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Mill, Jackson notes, finds the conc
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apostrophe to ‗Misery‘ performa
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Page 143 and 144: The library of the dukes of Milan w
Page 145 and 146: Rainey‘s disdain for bourgeois hi
Page 147 and 148: Bornstein, for example, is interest
Page 149 and 150: the meaning of Pound‘s text by co
Page 151 and 152: Do come, do come. I can see us at B
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Page 155 and 156: the winners of its game (148). Beca
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Page 159 and 160: to him is plain: ―News of Nancy?
Page 161 and 162: view of Pound‘s political beliefs
Page 163 and 164: which to describe the force of natu
Page 165 and 166: interrogation of that two-word theo
Page 167 and 168: elationships that they believed to
Page 169 and 170: commemoration is to writing (Derrid
Page 171 and 172: knowable “as a combination of ato
Page 173 and 174: new‖ emerges: ―it is a movement
Page 175 and 176: ejects any teleological argument fo
Page 177 and 178: Ontologies, such as those that belo
Page 179 and 180: this mystery could only be experien
Page 181: attention to the way names effect t
Page 185 and 186: understanding how de-personalizatio
Page 187 and 188: Fate becomes a term that Benjamin i
Page 189 and 190: WORKS CITED Arkins, Bryan. ―Pound
Page 191: The New Age. 27.26, 1919. Ovid. The
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