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Towards an archaeology of modernism
Jay Bernstein

immanent cancellation of form as modernism’s most exacting aesthetic, hence formal demand as somehow a mode of resistance to the social world outside art, as not simply critique, but for Adorno the most salient and rationally coherent mode of critique? The long answer to this question, which I will not be pursuing here, would involve demonstrating the internal connection and necessary opposition between the development of the practical forms of bourgeois social life and those of autonomous modern art. My short answer will proceed through a discussion of Philip Roth’s

in The new aestheticism