Abstract

Despite widespread pessimism about the radical thrust of Adorno's modernism and Adorno's own reservations, his work has been held up as prefiguring the rebirth of a more engaged politics. This argument has taken several forms. Russell A. Berman maintains that if Adorno's modernism was bound to exhaust itself (as Adorno himself anticipated), the end of modernism would inevitably result in a return to everyday life. Yet this union of art and life would simply relocate political struggle and change within the cultural arena: “After the completion of the avantgarde project, works of art have lost their privileged status and are no longer a safe harbor for the utopian image of a successful civilization, but the principle of aestheticization expands throughout society as a crucial medium of manipulation…