Abstract
Ethics and Aesthetics after Auschwitz As Christoph Menke has noted, the moral implications of Theodor W. Adorno's negative dialectics fit squarely in strain of modern practical philosophy most associated with Friedrich Nietzsche, which begins from the premise that critique of moral doctrine represents new, properly modern practical impera tive.1 In other words, if Nietzsche sets out, as he says, to in morality','2 this is less to repudiate moral norms per se than to establish new, so to speak, metamorality, one that replaces passive faith in the authority of practical norms with norms for the autonomous act of critique itself: the moral is replaced by the intellectual conscience behind your conscience.3 But this insatiable questioning itself leads Nietzsche to con clusions and postulations that can seem to undermine his commitment to both modernism and radical critique. For instance, he claims that a condition of
Published Version
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