Adorno deliberately promoted a historical-philosophical method of art interpretation in postwar West Germany

Evidence

It was not, therefore, merely because his attention and energy did have limits, and because in art at least he wanted to be guided by his own personal preferences, that Adorno was satisfied during the 1950s with cautiously ensuring recognition for his own interpretation of works of art in terms of the philosophy of history and society, as distinct from the other dominant trends in literary theory and criticism in West Germany. — Rolf Wiggershaus, The Frankfurt School, 547

Categorization

• XREF: Links to Adorno’s earlier ‘On the Social Position of Music’ essay and the ZfS journal work discussed in prior chapters. — connects to: Adorno’s 1951 radio talk introduced socially grounded literary interpretation to West Germany — Rolf Wiggershaus, The Frankfurt School: Its History,…, 535; Adorno founded a philosophy-of-history approach to music aesthetics centered on Schoenberg’s school — Rolf Wiggershaus, The Frankfurt School: Its History,…, 535; Adorno established philosophy-of-history music aesthetics and social-theoretical literary criticism in postwar Germany — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2172 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno’s 1951 radio talk introduced socially grounded literary interpretation to West Germany — Rolf Wiggershaus, The Frankfurt School: Its History,…, 535; Adorno founded a philosophy-of-history approach to music aesthetics centered on Schoenberg’s school — Rolf Wiggershaus, The Frankfurt School: Its History,…, 535; Adorno established philosophy-of-history music aesthetics and social-theoretical literary criticism in postwar Germany — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2172 (+2 more)