Abstract

In January 1968, Lucien Goldmann organized a conference on aesthetic theory in Royaumont, France. Adorno was one of the keynote speakers; I delivered a lecture on Lukács's The Specificity of the Aesthetic, which then was still not well known. Of course, we were immediately entangled in passionate discussions arguing for three different, and apparently irreconcilable, positions. Then something entirely unexpected happened. A young man took the rostrum and spoke with anger and irritation: Lukács, Goldmann and Adorno are all the same. They are members of the Holy Family. By standing for the autonomy of art work, they seek salvation in a celestial image of the world. They are equally old-fashioned, bourgeois and despicable