ABSTRACT
Critical aesthetic theory is distinguishable from sociological and historicist methods that would subvert the very idea of canonical distinction by emptying individual works of their aesthetic import and critical content. This chapter examines the objections that are most relevant to the literary canon and canon formation in general. It addresses various criticisms of Theodor Adorno's aesthetic theory and literary criticism. In particular, the common observation that Adorno's work is almost entirely confined to Western or canonical art must be considered, especially if critical theory is taken as having relevance to works outside of the European traditions. Given that artistic reproduction is historically one of the most essential characteristics of the canonization process, this discrepancy indicates where a critical theory of canon formation remains to be developed. It also reveals a tension, or contradiction, that is inherent to canonicity itself. Critical theory is highly skeptical about the cognitive value or truth content of popular works of art and literature.
