Abstract

This article examines Adorno’s re-conceptualisation of the traditional concept of the sublime, arguing that for Adorno the sublime aesthetic experience foregrounds an awareness of non-identity and the “priority of the object.” For Adorno, tears, shudders, and the emotions of shock and terror remain authentic responses to artworks because they remind the ego of its affinity with nature. Adorno’s treatment of the sublime in modern art and in relation to his theory of the dialectic of enlightenment invites a radical critique of the claim of reason to autonomy and control. His notion of the sublime is illustrated by the performance work of Franko B as a contemporary example of the confrontation with the bodily sublime, which produces a “limit-experience,” a mode of subjective decentring as a result of our exposure to the impossible and the formless. While Adorno’s “negative” sublime is devoid of reconciliatory metaphysical meaning, it calls forth an altered subjectivity that opposes the wit...