Theodor Adorno's famous quotation about art after Auschwitz is becoming something of a sound bite. Adorno did not say that after the. How today's artists are still finding the trauma to be a complex vehicle for social commentary. A version of this letter appears in print on, on Page AR3 of the New York edition with the headline: Holocaust Movies: Art After Auschwitz.
Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism. Yet one must ask a further question, and this is a metaphysical question, although it has its basis in the total suspension of metaphysics. Given that, I think it can be argued that poetry, or any individual expression of joy and wonder, is precisely the response needed to horrors such as Auschwitz. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. In fact, his Complete Poems , sadly still out of print, consists mainly of observations of life in his native city and verse reworkings of episodes from the Old Testament and Talmud. Weniger stets verträgt jener Schein sich mit dem Prinzip rationaler Materialbeherrschung, dem er die gesamte Geschichte von Kunst hindurch sich verband. Hinzufügen war nicht erfolgreich. This book examines the legacy of German-Jewish culture in the aftermath of Auschwitz. Check in you enable Facebook sharing! Yvonne Kyriakides Royal College of Art, London. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. There isn't a word out of place; it's a miracle. Poetry, Adorno is saying, how effete! Primo Levi commits suicide. To write poetry after Auschwitz is barbaric. It was this approach that made him a kind of patron and model for the Objectivists in the s, and its full flowering was to come in his late plus page long poem sequence Testimony: And so, there you have it. Geben Sie die angezeigten Zeichen im Bild ein: I think you are all missing the point. Without any doubt, Primo Levi, the Italian-Jewish writer: Interviews and Other Writings, —, edited by L. Gieseking was playing the complete Debussy piano music on the nights when one could hear the screams of the people in the sealed railway cars at the station in Munich on the way to Dachau, just outside Munich. Surely a proletarian response to Auschwitz is possible and not dependent on a coldness.