By Theodor W. Adorno
In December 1945 Thomas Mann wrote a well-known letter to Adorno during which he formulated the primary of montage followed in his novel health practitioner Faustus. the author expressly invited the thinker to contemplate, with me, how this type of paintings and that i suggest Leverkhns paintings may well roughly be virtually discovered. Their shut collaboration on questions in regards to the personality of the fictitious composers putatively past due works (Adorno produced particular sketches that are integrated as an appendix to the current quantity) successfully laid the foundation for another trade of letters.
The resulting correspondence among the 2 males files an extraordinary come across of artistic rigidity among literary culture and aesthetic modernism which might be sustained correct up until eventually the novelists loss of life in 1955. within the letters, Thomas Mann brazenly stated his involved studying of Adornos Minima Moralia and commented intimately at the Essay on Wagner, which he was once as wanting to learn because the one within the publication of Revelation consumes a ebook which tastes as candy as honey. Adorno in flip provided distinct observations upon and often enthusiastic commendations of Manns later writings, resembling The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence additionally touches upon problems with nice own value, particularly the delicate dialogue of the issues of getting back from exile to postwar Germany.
The letters are greatly annotated and supply the reader particular notes in regards to the writings, occasions and personalities referred or alluded to within the correspondence.
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Extra resources for Correspondence 1943-1955
Adorno Archive, Frankfurt am Main. 1 The Frankfurt businessman Oscar Wiesengrund (1870–1946) and his wife, the singer Maria Calvelli-Adorno (1864–1952), had left Germany in early 1939. They arrived in Cuba first but were able to settle in New York by the middle of 1940. 2 Adorno received his doctorate under the Frankfurt philosopher Hans Cornelius in 1924 with his dissertation ‘Die Transzendenz des Dinglichen und Noematischen in Husserls Philosophie’. The work remained unpublished during Adorno’s lifetime (see GS 1, pp.
It has been read repeatedly, and read aloud, and yesterday I had the opportunity to tell your dear wife1 all about it when she came to lunch. At last we got round to meeting again! – it took so long to arrange only because I have been rather ill lately and have therefore felt quite unfit for social intercourse: I had contracted an infectious inflammation and swelling of the inner ear which left me virtually deaf for a while – a depressing condition further exacerbated by itching sensations throughout the night.
12 See Theodor W. Adorno: ‘Über Jazz’ [On Jazz] from 1936 (first published in the Zeitschrift für Sozialforschung 5, 1937; GS 17, pp. 74–100); ‘Glosse über Sibelius’ [Note on Sibelius] (ZfS 6, 1938; GS 17, pp. 247–52); ‘Über den Fetischcharakter in der Musik und die Regression des Hörens’ [On the Fetish Character in Music and the Regression of Listening] (ZfS 7, 1938; GS 14, pp. 14–50; English translation: The Essential Frankfurt Reader, ed. A. Arato and E. Gebhard, Oxford, 1978, pp. 270–99). See also Adorno’s studies on the ‘NBC Music Appreciation Hour’ and the ‘Radio Symphony’, which he had intended to publish in a volume provisionally entitled ‘Currents of Music: Elements of a Radio Theory’ (Theodor W.