Adorno ranked Husserl’s philosophical significance alongside Schoenberg’s in music

Evidence

The boundaries of philosophy were even narrower, since it could never cease to be conceptual knowledge. Adorno’s criticism of Bloch, and of Benjamin as well for a considerable time, was that there was a certain irresponsibility in their philosophical or metaphysical improvisation. Adorno therefore saw the climax of philosophy, up to the present time, as lying in Hegel; and Hegel’s friend Hölderlin represented the climax of literature for him. In philosophy, there had been nothing after Hegel that Adorno could see as the philosophical equivalent of Schoenberg, Kafka or Beckett. There was, however, one figure whose significance in philosophy, in Adorno’s view, approached that of Schoenberg in music: Edmund Husserl. — Rolf Wiggershaus, The Frankfurt School, 559

Categorization

• XREF: Connects directly to the earlier chapter material on Schoenberg, Kafka, and Beckett as the modern canon in Adorno’s critical theory. — connects to: Adorno placed Schoenberg’s artistic project on par with Freud and Karl Kraus — Rolf Wiggershaus, The Frankfurt School: Its History,…, 980
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno placed Schoenberg’s artistic project on par with Freud and Karl Kraus — Rolf Wiggershaus, The Frankfurt School: Its History,…, 980