510 Notes to pp. 100–106
23 I had an extended conversation with Marianne Hoppe in her Berlin flat in
the summer of 1999. See also Petra Kohse, Marianne Hoppe: Eine Biografie,
p. 76ff., and Carl Zuckmayer, Geheimreport, pp. 339 and 396.
24 Her relationship with Dreyfus lasted until his emigration to Argentina via
Britain. After the Nazi takeover, Dreyfus, who as a Jew and a Marxist was
in constant danger, continued to live in Berlin, initially in Marianne Hoppe’s
flat. In the early 1960s, protracted legal proceedings for compensation were
finally resolved in his favour and he returned to Germany. Both Adorno
and Hoppe made efforts to find him a job in the film industry. Since Adorno
had been on friendly terms with Hoppe, he also resumed contact with her
on his return to Germany, partly in order to produce a radio programme
jointly with her. In this programme Marianne Hoppe read passages from
Proust’s A la recherche du temps perdu. Adorno contributed an introduc-
tion and provided a commentary on the readings.
25 Adorno and Berg, Briefwechsel 1925–1935, p. 276.
26 Andreas Hansert, Bürgerkultur und Kulturpolitik, pp. 137 and 141ff.
27 Adorno, ‘Kultur und Verwaltung’, GS, vol. 8, p. 134. For an alternative
English translation, see Adorno, The Culture Industry, p. 103 [trans].
28 See Wolfgang Schivelbusch, Intellektuellendämmerung, pp. 42ff. and 62ff.
29 Adorno, ‘Frankfurter Opern- und Konzertkritiken’, GS, vol. 19, p. 113.
30 Ibid., p. 99.
31 Adorno, ‘Drei Dirigenten’, ibid., p. 456. Because at this time music
had absolute priority for Adorno, he neglected the plastic arts despite his
interest in them. He must have come across Max Beckmann in the salon of
Lilly and Georg von Schnitzler, and been familiar with his paintings. But he
never made any comment on his art, perhaps because he did not trust his
judgement. In his retrospective discussion of the 1920s, he attempted to
argue that this period did not really succeed in producing the revolutionary
innovations that were later claimed for it: ‘The heroic age of the new art
was actually around 1910: synthetic cubism, early German expressionism,
and the free atonalism of Schoenberg and his school’ (Adorno, ‘Those
Twenties’, in Critical Models, p. 41).
32 See Adorno and Berg, Briefwechsel 1925–1935, p. 98f. Henri Lonitz, the
editor of the correspondence, points out that there is no sign of either the
third movement of the Quartet or the Piano Pieces in Adorno’s literary
estate. Ibid., p. 99.
33 See Adorno, ‘Musikalische Aphorismen’, GS, vol. 18, p. 13f.
34 Adorno and Berg, Briefwechsel 1925–1935, p. 170.
35 M. Horkheimer, Über Kants ‘Kritik der Urteilskraft’, GS, vol. 2, p. 146.
36 Adorno, Der Begriff des Unbewußten in der transzendentalen Seelenlehre,
GS, vol. 1, p. 96.
37 Ibid., p. 230f.
38 Ibid., p. 232.
39 Ibid., p. 320.
40 Ibid.
41 Decades later, when the question arose of publishing this dissertation in
the Complete Writings, Adorno criticized the Freud chapter. He said that
he had focused too narrowly on epistemological questions at the expense
of ‘the materialist dimension that was evident in the fundamental concept
of organ-pleasure’ (Rolf Tiedemann, ‘Editorische Nachbemerkung’, in