Adorno, Benjamin, Lukács, and Sartre form one vaster dialectical synthesis

Evidence

In the preceding chapters we have given an account of contemporary work in the dialectic from a number of different points of view, the implication being that these “systems” or partial systems—Adorno on dialectical evolution in time; Benjamin, Marcuse, and Bloch on the essentially hermeneutic, or demystifying and at the same time restorative, nature of dialectical thinking; Lukács on the symptomatic relationship between the artistic construct and the underlying realities of social life itself; Sartre on the disguised and undisguisable nature of those realities as class antagonism—all ultimately complete each other, their apparent inconsistencies dissolved in some vaster dialectical synthesis. — Fredric Jameson, Marxism and Form, 633

Categorization

• XREF: This is the central cartography of the reader’s stated goal—mapping the Frankfurt-School lineage Jameson works within. — connects to: Adorno fused Lukács, Kracauer, and Benjamin to justify Schoenberg’s musical revolution. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 365; Adorno’s micrological-Messianic thought linked him to Benjamin, Kracauer, and Bloch — Rolf Wiggershaus, The Frankfurt School: Its History,…, 12; Adorno synthesized Lukacs, Kracauer, and Benjamin to justify Schoenberg’s twelve-tone revolution
• SEED: Jameson’s own opening account of how these four figures complete rather than contradict each other is the master map for any essay on the dialectical method.