![]() ![]() ![]() My argument is that Lyotard's understanding of Adorno is flawed because he does not recognize the distinctly Jewish, albeit secularized, character of his thought. To prove that Lyotard had Adorno in mind when he constructed the category of the melancholic sublime, I return to an earlier piece by Lyotard - `Adorno as the Devil' - which is a reading of Thomas Mann's Dr Faustus, in which Adorno is said to be one of the faces of the Devil. Lyotard's construction of the melancholic sublime in his essay `What is the Postmodern?', which I argue he uses to critique Adorno's aesthetics, and, more generally, his position as a `modern' thinker. In this article, I explore the relationship between the philosophy of Theodor Adorno and the Bilderverbot, or biblical Second Commandment against images. ![]()
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