Adorno conflated two distinct senses of ‘that is no longer possible’

Evidence

It was misleading to speak of Beckett’s meaningless protocol sentences. Adorno was treating Helms and Beckett as equivalent to the composers of serial music, but was paying the penalty for this by not stating precisely what it meant to elevate to canonical status whatever was no longer possible. That is no longer possible' was an ambiguous formula with Adorno. It usually meant that a traditional method had been blocked by obstructions: one could no longer compose in harmony, use cadenzas, introduce a seventh as a chord that provided an exceptional intensification. One could no longer seriously present soliloquies on the stage; it was no longer possible to get away with using an omniscient narrator. But that is no longer possible’ also meant, on the other hand, that conventions, prejudices and impediments ceased to exist: one was free to use dissonance, to narrate stories using multiple points of view, to express bitterness without fear of censorship, to scorn reconciliation. — Rolf Wiggershaus, The Frankfurt School, 2252

Categorization

• corroborated: 2 independent passages support this claim — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2252
• XREF: connects to: Adorno’s appeal to barbarism was problematic because both senses of the term stayed opaque — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1278