Marktvermittelte Massenkunst

Zusammenfassung Der Artikel zeigt, dass Max Horkheimer und Theodor W. Adorno in ihrer Kulturindustriethese die empirischen Befunde von Alexis de Tocquevilles Kunstdiagnose demokratischer Gesellschaften ihrer eigenen Manipulationsperspektive subsumiert haben. Ihre Theorie der Kulturindustrie nahm in Tocquevilles Kunstsoziologie des zweiten Amerikabandes ihren Anfang. Mittelma?, Publikumsorientierung, unterhaltender Charakter und soziale Indifferenz sind sowohl den marktvermittelten künstlerischen Produkten der Demokratie Tocquevilles als auch den kulturindustriellen Produkten Horkheimers und Adornos gemein. Fordert der demokratische Mensch Tocquevilles inhaltliche Selbstbezüglichkeit seines Alltags in künstlerischen Produkten und verliert das Kunstwerk somit seinen sublimierenden Charakter, sind die kulturindustriellen Produkte bei den Frankfurtern analog durch eine Verdoppelung der Realit?t und den damit einhergehenden Verlust ihres gesellschaftstranszendierenden Gehalts gekennzeichnet. Da bei Tocqueville die Demokratie als Lebensform zutiefst mit individuellem Wirtschaftsstreben verknüpft ist, k?nnen die Sp?tkapitalisten Horkheimer und Adorno die empirischen Befunde seiner Analyse marktvermittelter Massenkunst zu ihrer Manipulationshypothese kapitalistischer Herrschaft ausbauen. Es ist von einer „integrativen Adaption“ von Tocquevilles Kunstdiagnose durch die Frankfurter die Rede, da das Identische der Kulturindustrie Horkheimers und Adornos der Integriertheit der demokratischen „h?fischen Gesellschaft“ Tocquevilles, das Nicht-Identische der Kunst in der bürgerlichen Sozialphilosophie der pers?nlichen Freiheit des franz?sischen Aristokraten entspricht.

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Summary Max Horkheimer’s and Theodor W. Adorno’s theory of culture-industry is based on the sociology of art in Alexis de Tocqueville’s second volume of Democracy in America. The article shows how Horkheimer and Adorno subsumed the empirical findings of Tocqueville’s art-diagnosis of democratic societies under their own culture-industrial manipulation perspective. Aiming at the average audience, mediocrity, public taste, entertaining interest and social indifference are characteristics of the market-mediated artistic products of Tocqueville’s democracy as well as of the products of Horkheimer’s and Adorno’s culture-industry. Tocqueville’s democratic person demands self-reference regarding the content of her or his everyday life in art and, as a result, the work of art loses its sublime character. Analogue to this, the culture-industrial products analyzed by the Frankfurt School theorists duplicate the reality and therefore lose their society transcending content. Since Tocqueville’s democracy is fundamentally connected to the economic effort of the individual, Horkheimer and Adorno can extend his empirical findings of commercial popular art within their own late-capitalistic manipulation hypothesis of capitalist power. The concept of the identical („Das Identische“) in Horkheimer’s and Adorno’s culture-industry corresponds to Tocqueville’s tyranny of unanimity in democratic societies; the concept of the non-identical of art in the bourgeois social philosophy to the personal freedom of the French aristocrat.

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Résumé L’article montre que dans leur thèse de l’industrie de la culture, Max Horkheimer et Theodor W. Adorno ont repris les résultats empiriques du diagnostic de l’art des sociétés démocratiques mené par Alexis de Tocqueville. Leur théorie de l’industrie de la culture a pris son origine dans la sociologie de l’art du deuxième tome de la Démocratie en Amérique de Tocqueville. Le juste milieu, l’orientation vers le public, le caractère divertissant et l’indifférence sociale se retrouvent aussi bien dans les produits de l’art dans la démocratie chez Tocqueville, que dans les produits de l’industrie de la culture chez Horkheimer et Adorno. L’homme démocratique de Tocqueville exige des produits artistiques une référence intrinsèque à son quotidien, ce qui fait perdre à l’œuvre d’art son caractère sublimatoire. Les produits de l’industriede la culture se caractérisent de manière analogue chez les Francfortois par un dédoublement de la réalité et par la perte concomitante de leur contenu par lequel la société se trouve transcendée. Comme la démocratieest chez Tocqueville intimement liée à une aspiration individuelle vers l’échange économique, les capitalistes tardifs Horkheimer et Adorno peuvent utiliser ces résultats empiriques pour l’esquisse de leur propre thèse de la manipulation capitaliste. Le caractère intégré de la „société courtoise“ démocratique chez Tocqueville (à savoir le caractère non identique de l’art dans la philosophie sociale bourgeoise) correspond alors au caractère identique de l’industrie de la culture chez Horkheimer et Adorno.

     

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