The Narrowest Path

Omid Mehrgan, Ph.D. (2018), Johns Hopkins University, is adjunct assistant professor at New York University, Department of Liberal Studies. He has published on aesthetic theory, the Anthropocene, translation studies, Iranian cinema, and translations of major works in critical theory, including those by Walter Benjamin and Theodor W. Adorno in Farsi.

Acknowledgments

Abbreviations



Introduction: ‘Not Truth in History, But History in Truth’

 1 The Opus Against the Apparatus

 2 The Aesthetic Equation and Its Antinomy

 3 Antinomic of Form: The Birth of Art’s Double Character

 4 The Special Problematic: What is an Aesthetic Antinomy?

 5 The General Problematic: Structure Faces History

 6 A Note on Kleist’s Novella



1 The Antinomic Act of Literature in Michael Kohlhaas

 1 Prologue: The Desire of Michael Kohlhaas

 2 Kohlhaas Follows His Thing: A Failed Forensics

 3 Luther Stops Kohlhaas: On the Historical Plateau

 4 The Gypsy Woman Moves Kohlhaas: A Fantastic Tragedy

 5 Kohlhaas Following Kohlhaas: What is a Literary Act?



2 The Human Antinomy in Hegel’s Philosophy of Right

 1 Introduction

 2 The Human Antinomy and Its Personal Resolution

 3 The Form of the Person: Infinite Self-Relation

 4 The Personal Antinomy and Its Political Resolution



3 The Political Antinomy in Marx’s The Eighteenth Brumaire of Louis Bonaparte

 1 Introduction

 2 The Constituted Form: The Proclaimed Republic

 3 The Constituent Content: The Presuppositions of the Republic

 4 The Antinomy of the Republic: The Politics of Capital

 5 The Resolution to Come



4 Figuring the Answer: A Reconstruction of Adorno’s Aesthetic Theory

 1 Problematic. Art’s Double Character as Antinomy

 2 Analytic of the Autonomous: Form as Separation

 3 Analytic of the Social: Form as Repetition

 4 Dialectic. The Sublime and The Ridiculous: Form as Participation

 5 Conclusion



Bibliography

Index