Journal of the History of Philosophy 54 (1):135-151 (2016)

Authors
Owen Hulatt
University of York
Abstract
adorno’s philosophy bristles with terms that, shorn from any settled stipulative definition, present a challenge to the reader.2 Adorno’s difficult concept of “non-identity” is perhaps the most notorious, but it is “mimesis” that more than any other resists easy comprehension. Despite this, or because of it, mimesis has received sustained and enthusiastic attention. Jameson goes so far as it say that mimesis is for Adorno a “foundational concept, never defined nor argued but always alluded to, by name, as though it had pre-existed all the texts.”3 While the talk of foundational concepts is perhaps a little strong, Adorno gives us cause to think mimesis is a central part of his philosophy, due to its infrequent..
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DOI 10.1353/hph.2016.0008
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Hegel, Danto, Adorno, and the End and After of Art.Owen Hulatt - 2016 - British Journal for the History of Philosophy 24 (4):742-763.

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