In the end, the writer is not even allowed to live in his writing.
The empirical usability of the sacred ceremonial words makes both the speaker and listener believe in their corporeal presence.
The work of art still has something in common with enchantment: it posits its own, self-enclosed area, which is withdrawn from the context of profane existence, and in which special laws apply.
In myths the warrant of grace was the acceptance of sacrifice; it is this acceptance that love, the re-enactment of sacrifice, beseeches if it is not to feel under a curse.
Kitsch parodies catharsis...It is in vain to try to draw the boundaries abstractly between aesthetic fiction and kitsch's emotional plunder. It is a poison admixed to all art; excising it is today one of art's despairing efforts.
The body's habituation to walking as normal stems from the good olddays. It was the bourgeois form of locomotion: physicaldemythologization, free of the spell of hieratic pacing, rooflesswandering, breathless flight. Human dignity insisted on the right towalk, a rhythm not extorted from the body by command or terror. Thewalk, the stroll, were private ways of passing time, the heritage ofthe feudal promenade in the nineteenth century.
The law of the innermost form of the essay is heresy
Art is permitted to survive only if it renounces the right to be different, and integrates itself into the omnipotent realm of the profane.
The only philosophy that can be practiced responsibly in the face of despair is the attempt to contemplate all things as they would present themselves from the standpoint of redemption. Knowledge has no light but that shed on the world by redemption: all else is reconstruction, mere technique. Perspectives must be fashioned that displace and estrange the world, that reveal its fissures and crevices, as indigent and distorted as it will one day appear in the Messianic light.
The dialectic cannot stop short before the conceptsof health and sickness, nor indeed before their siblings reason and unreason.
Only a humanity to whom death has become as indifferent as its members, that has itself died, can inflict it administratively on innumerable people.
The important thing is not the planning of an Index Verborum Prohibitorum of current noble nouns, but rather the examination of their linguistic function.
The expression if history in things is no other than that of past torment.
Thus is order ensured: some have to play the game because they cannot otherwise live, and those who could live otherwise are kept out because they do not want to play the game. It is as if the class from which independent intellectuals have defected takes its revenge, by pressing its demands home in the very domain where the deserter seeks refuge.
What is or is not the jargon is determined by whether the word is written in an intonation which places it transcendently in opposition to its own meaning; by whether the individual words are loaded at the expense of the sentence, its propositional force, and the thought content.
In the nineteenth century the Germans painted their dream and the outcome was invariably vegetable. The French needed only to paint a vegetable and it was already a dream.
The objective tendency of the Enlightenment, to wipe out the power of images over man, is not matched by any subjective progress on the part of enlightened thinking towards freedom from images.
In his state of complete powerlessness the individual perceives the time he has left to live as a brief reprieve.
They [the critics] deal with Schoenberg's early works and all their wealth by classifying them, with the music-historical cliché, as late romantic post-Wagnerian. One might just as well dispose of Beethoven as a late-classicist post-Haydnerian.
Jazz is the false liquidation of art - instead of utopia becoming reality it disappears from the picture.
If across the Atlantic the ideology was pride, here it is delivering the goods.
In the general tendency toward specialization, philosophy too has established itself as a specialized discipline, one purified of all specific content. In so doing, philosophy has denied its own constitutive concept: the intellectual freedom that does not obey the dictates of specialized knowledge.
Thinking no longer means anymore than checking at each moment whether one can indeed think.
In the products of the culture industry human beings get into trouble only so that they can be rescued unharmed, usually by representatives of a benevolent collective; and then, in illusory harmony, they are reconciled with the general interest whose demands they had initially experienced as irreconcilable with their own.
Philosophy that satisfies its own intention, and does not childishly skip behind its own history and the real one, has its lifeblood in the resistance against the common practices of today and what they serve, against the justification of what happens to be the case.
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