Entertainment and learning are not opposites; entertainment may be the most effective mode of learning. - Herbert Marcuse

The Kantian philosophy left a gulf between thought and being, or between subject and object, which the Hegelian philosophy sought to bridge. The bridge was to be made by positing one universal structure of all being. Being was to be a process wherein a thing ‘comprehends’ or ‘grasps’ the various states of existence and draws them into the more or less enduring unity of its ‘self,’ thus actively constituting itself as ‘the same’ throughout all change. Everything, in other words, exists more or less as a ‘subject.’ P. 64

The total victimization of the individual that takes place is encouraged for the specific benefit of the industrial and political bureaucracy. It therefore cannot be justified on the ground of the individual’s true interest. National Socialist ideology simply states that true human existence consists in unconditional sacrifice, that it is of the essence of the individual’s life to abbey and to serve-‘service which never comes to an end because service and life coincide.’ P. 416

The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it