Abstract
This chapter outlines Theodor W. Adorno's relationship to Samuel Beckett through parallels between their respective collected writings and influence of Beckett on Adorno, broadly construed. It focuses on specific role that Beckett played in Aesthetic Theory. In a fragment on music and language from Quasi Una Fantasia, Adorno offers following analysis: Music resembles a language. Adorno references Beckett on decay of material in poetry in modern era. One of central literary influences on Adorno's theory of aesthetic mimesis is Beckett. The chapter elaborates Adorno's theory of aesthetic mimesis in Aesthetic Theory and then demonstrates his philosophy of language through example of music, as latter illuminates Adorno's striving for a language of the aesthetically. It concludes with Adorno's analyses of Beckett in Aesthetic Theory in order to show intricate relationship between Adorno's reading of mimesis in Beckett and his notion of a language of new in his magnum opus.
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