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.

• AcknowledgmentsAbbreviationsIntroduction: ‘Not Truth in History, But History in Truth’1 The Opus Against the Apparatus2 The Aesthetic Equation and Its Antinomy3 Antinomic of Form: The Birth of Art’s Double Character4 The Special Problematic: What is an Aesthetic Antinomy?5 The General Problematic: Structure Faces History6 A Note on Kleist’s Novella1 The Antinomic Act of Literature in Michael Kohlhaas1 Prologue: The Desire of Michael Kohlhaas2 Kohlhaas Follows His Thing: A Failed Forensics3 Luther Stops Kohlhaas: On the Historical Plateau4 The Gypsy Woman Moves Kohlhaas: A Fantastic Tragedy5 Kohlhaas Following Kohlhaas: What is a Literary Act?2 The Human Antinomy in Hegel’s Philosophy of Right1 Introduction2 The Human Antinomy and Its Personal Resolution3 The Form of the Person: Infinite Self-Relation4 The Personal Antinomy and Its Political Resolution3 The Political Antinomy in Marx’s The Eighteenth Brumaire of Louis Bonaparte1 Introduction2 The Constituted Form: The Proclaimed Republic3 The Constituent Content: The Presuppositions of the Republic4 The Antinomy of the Republic: The Politics of Capital5 The Resolution to Come4 Figuring the Answer: A Reconstruction of Adorno’s Aesthetic Theory1 Problematic. Art’s Double Character as Antinomy2 Analytic of the Autonomous: Form as Separation3 Analytic of the Social: Form as Repetition4 Dialectic. The Sublime and The Ridiculous: Form as Participation5 ConclusionBibliographyIndex