ABSTRACT The extensive ‘secretarial’ labour that Gretel Karplus Adorno performed for the Frankfurt School is often overlooked in critical accounts. This article examines the Adornos' division of textual labour, and Karplus' ‘vulture-like’ stenography, distinguishing it from the dominant modernist views of secretarial labour, such as T. S. Eliot's automaton typist, and Henry James's typist-as-medium. The Adornos' stenographical method hinges upon a dialectical division of labour, which can be read through Theodor Adorno's aphorism ‘Sacrificial Lamb’. Adorno's writer elides the ‘risk of formulation’ necessary to commit to unformed ideas, by engaging his ‘troublesome helper’ typist in a dialectical struggle over textual authority. Whilst the dictator dominates his aide, the text still bears the imprint of its invisible contributor. Indeed, as Karplus shoulders Adorno's own divested ‘risk of formulation’ after they wed in 1937, he develops his critique of the capitalist mode of production, which lures women to the workforce under the promise of emancipation, and instead exploits and devalorizes their mental and physical labour. Simultaneously, Adorno cultivates a philosophical style that supports his modernist aesthetics, characterised by fragmentation, parataxis, and verbal improvisation, abetted by Karplus and their mutual investment in the risks of writing.

中文翻译：

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Gretel Adorno，打字机：牺牲的羔羊和批判理论的“公式化风险”

摘要 格蕾特·卡普拉斯·阿多诺为法兰克福学派所做的大量“秘书”工作经常在评论中被忽视。本文考察了 Adornos 的文本劳动分工和 Karplus 的“秃鹰式”速记，将其与主流的现代主义秘书劳动观点区分开来，例如 TS Eliot 的自动机打字员和 Henry James 的打字员作为媒介。阿多诺斯的速记方法取决于辩证的劳动分工，这可以通过西奥多·阿多诺的格言“牺牲的羔羊”来解读。阿多诺的作者通过让他的“麻烦帮手”打字员参与对文本权威的辩证斗争，消除了承诺未成形思想所必需的“表述风险”。当独裁者控制他的助手时，文本仍然带有其无形贡献者的印记。事实上，当卡普拉斯在 1937 年结婚后承担阿多诺自己被剥离的“制定风险”时，他发展了对资本主义生产方式的批判，资本主义生产方式在解放的承诺下吸引妇女加入劳动力市场，而不是剥削和贬低她们的精神和价值。体力劳动。与此同时，阿多诺培养了一种哲学风格，支持他的现代主义美学，其特点是碎片化、并列和口头即兴，在卡普拉斯的怂恿下，他们相互投资于写作的风险。而是剥削和贬低他们的脑力劳动和体力劳动。与此同时，阿多诺培养了一种哲学风格，支持他的现代主义美学，其特点是碎片化、并列和口头即兴，在卡普拉斯的怂恿下，他们相互投资于写作的风险。而是剥削和贬低他们的脑力劳动和体力劳动。与此同时，阿多诺培养了一种哲学风格，支持他的现代主义美学，其特点是碎片化、并列和口头即兴，在卡普拉斯的怂恿下，他们相互投资于写作的风险。