Brecht’s Svendborg circle was blamed for Benjamin’s pro-communist aesthetic turn.

Evidence

For Adorno, such views were evidence of the influence of Brecht, that wild man' (as he called him in a letter to Horkheimer, after reading the manuscript of Benjamin's The Work of Art in the Age of Mechanical Reproduction’115). Benjamin had spent the summer months of 1934 with Brecht, in exile in Svendborg in Denmark, and in the following years he often stayed with him for extended periods. — Rolf Wiggershaus, The Frankfurt School, 212

Categorization

• SHARE: Adorno privately referring to Brecht as a ‘wild man’ in a letter to Horkheimer is a detail only a Frankfurt-School enthusiast would savor.
• XREF: connects to: Adorno saw Benjamin’s Marxist side as an un-Benjaminian artifact of Brecht’s influence. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2717; Adorno dismissed the Marxist Benjamin as a Brechtian distortion of Benjamin’s true nature. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 680
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno saw Benjamin’s Marxist side as an un-Benjaminian artifact of Brecht’s influence. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2717; Adorno dismissed the Marxist Benjamin as a Brechtian distortion of Benjamin’s true nature. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 680

Broader Connections

• Adorno saw Benjamin’s Marxist side as an un-Benjaminian artifact of Brecht’s influence. #corroborates (0.97) — Rolf Wiggershaus, The Frankfurt School, 2717
• Adorno dismissed the Marxist Benjamin as a Brechtian distortion of Benjamin’s true nature. #expands (0.93) — Rolf Wiggershaus, The Frankfurt School, 680