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CONTRADICTION, CRITIQUE, AND DIALECTIC IN ADORNO A ...

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eproducible art, especially film, as a tool for revolutionary change, not realizing the<br />

regressive potential of this art form).<br />

As early as his review of Benjamin’s essay on Kafka in 1934, Adorno showed<br />

strong reservations about Benjamin’s method. In a letter dated December 17, Adorno<br />

first praises the essay, particularly the method of “inverse theology” that employs natural<br />

interpretation to illuminate the supernatural, and the supernatural to illuminate the most<br />

natural, but he also says that the work is incomplete: “Denn dies ist ihre Unfertigkeit.<br />

Das Verhältnis von Urgeschichte und Moderne ist noch nicht zum Begriff erhoben und<br />

das Geligen einer Kafkainterpretation muß in letzter Instanz davon abhängen.” 405<br />

Adorno discusses specific details from the Kafka piece, but the point seems to be the<br />

same in each case: The juxtaposition of archaic and dialectical images needs more<br />

conceptual mediation; it remains too image-like, and Adorno recommends a more<br />

Hegelian approach, noting that the juxtaposition of unmediated extremes remains<br />

“abstrakt im Hegelschen Sinne” [abstract in the Hegelian sense]. 406<br />

Less than a year later, Adorno reiterates the same criticism with regard to<br />

Benjamin’s first exposé of the Arcades Project. His main complaint is that the method is<br />

undialectical because it presents history and nature by just juxtaposing images of both<br />

instead of mediating dialectically between them. In a letter from 2-4 August, 1935,<br />

405 Lonitz, Henri, ed. Theodor W. Adorno: Briefe und Briefwechsel, Vol. 1 (Frankfurt Suhrkamp,<br />

1994), 91. English translation in Lonitz, Henri, ed., trans. Walker, Nicholas, Theodor W. Adorno and<br />

Walter Benjamin: The Complete Correspondence 1928-1940 (Cambridge, Polity Press, 1999), 67-68:<br />

“For this is its incompleteness. The relationship between primal history and modernity has yet to be<br />

conceptualized, and the success of an interpretation of Kafka must depend in the last analysis upon the<br />

former.”<br />

406 Lonitz, Henri, ed. Theodor W. Adorno: Briefe und Briefwechsel, Vol. 1 (Frankfurt Suhrkamp,<br />

1994), 92. Adorno also admits that Benjamin is “probably unaware” of just how close his method is to<br />

Hegel, but how its shortcomings are already explained by Hegel in the fact that the method remains too<br />

abstract.<br />

432

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