Adorno ranked conservative anti-modernists as worse enemies than fascist modernists like Benn

Evidence

Adorno’s commitment to modernism in the arts was so deep that he saw Benn as less of an enemy than those who rejected modern art altogether and gave conservative or reactionary significance to the established forms. — Rolf Wiggershaus, The Frankfurt School, 2235

Categorization

• XREF: Connects to the Frankfurt School’s constitutive tension between aesthetic modernism and political radicalism, a thread running through Adorno’s aesthetics across this book. — connects to: The poet Benn linked autonomous poetry to slave-owning states in 1933 — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2233; Gottfried Benn openly linked high culture to slave-owning states and never retracted this view — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2233; Adorno’s pseudo-conservatism label masked a European left critique of American civilization — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1806 (+2 more)

Broader Connections

• Adorno’s pseudo-conservative distinction added psychological depth to the political concept of conservatism #expands (0.82) — Rolf Wiggershaus, The Frankfurt School, 1587
• Adorno adapted Fromm’s rebel-revolutionary split into a pseudo-conservative versus conservative split #expands (0.78) — Rolf Wiggershaus, The Frankfurt School, 1588
• Adorno’s pseudo-conservatism label masked a European left critique of American civilization #expands (0.75) — Rolf Wiggershaus, The Frankfurt School, 1806