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Matthias Rothe

In: The SAGE Handbook of Frankfurt School Critical Theory

Chapter 62: Adorno’s Brecht: The Other Origin of Negative Dialectics

Edited by: Beverley Best, Werner Bonefeld & Chris O’Kane

DOI: http://dx.doi.org/10.4135/9781526436122.n62

Subject: German Social Theory, Critical Theory

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Rothe, M. (2018). Adorno’s brecht: the other origin of negative dialectics. In B. BestW. Bonefeld & C. O’Kane The sage handbook of frankfurt school critical theory (Vol. 3, pp. 1038-1054). 55 City Road, London: SAGE Publications Ltd doi: 10.4135/9781526436122.n62

Rothe, Matthias. "Adorno’s Brecht: The Other Origin of Negative Dialectics." In The SAGE Handbook of Frankfurt School Critical Theory, 1038-1054. 55 City Road, London: SAGE Publications Ltd, 2018. doi: 10.4135/9781526436122.n62.

Rothe, M 2018, 'Adorno’s brecht: the other origin of negative dialectics', in The sage handbook of frankfurt school critical theory, SAGE Publications Ltd, 55 City Road, London, pp. 1038-1054, viewed 29 March 2020, doi: 10.4135/9781526436122.n62.

Rothe, Matthias. "Adorno’s Brecht: The Other Origin of Negative Dialectics." The SAGE Handbook of Frankfurt School Critical Theory. Beverley BestWerner Bonefeld and Chris O’Kane. Vol. 3. 55 City Road: SAGE Publications Ltd, 2018. 1038-1054. SAGE Knowledge. Web. 29 Mar. 2020, doi: 10.4135/9781526436122.n62.

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Adorno’s Brecht: The Other Origin of Negative Dialectics
Adorno’s Brecht: The Other Origin of Negative Dialectics
Matthias Rothe
Adorno and Brecht: Moving beyond aversion

Theodor W. Adorno and Bertolt Brecht: this is how the story commonly goes. The former is repulsed by the unconcerned activism and the vulgar Marxism of the latter; the latter is rejecting the former along with the other Frankfurt School theorists for their ‘stilted, abstract language, their elitism, … their wrong-headedness’ (Lyon, 1980: 260).1 Gene Ray then sums up their relation to one another: ‘Bertolt Brecht and Theodor W. Adorno stand for opposing modes and stances within an artistic modernism oriented toward radical social transformation’ (2010: 1). He closely follows Susan Buck-Morss, who observed before him: ‘Brecht opted for ...

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