Martin Jay Harvard University Press, 1984 Library of Congress HM22.G3A33 1984 | Dewey Decimal 193
Adorno and Existence
Peter E. Gordon Harvard University Press, 2016 Library of Congress B3199.A34G67 2016 | Dewey Decimal 193
Adorno was forever returning to the philosophies of bourgeois interiority, seeking the paradoxical relation between their manifest failure and their hidden promise. As Peter E. Gordon shows, Adorno’s writings on Kierkegaard, Husserl, and Heidegger present us with a photographic negative—a philosophical portrait of the author himself.
Ever since Kant and Hegel, the notion of autonomy—the idea that we are beholden to no law except one we impose upon ourselves—has been considered the truest philosophical expression of human freedom. But could our commitment to autonomy, as Theodor Adorno asked, be related to the extreme evils that we have witnessed in modernity? In Autonomy after Auschwitz, Martin Shuster explores this difficult question with astonishing theoretical acumen, examining the precise ways autonomy can lead us down a path of evil and how it might be prevented from doing so.
Shuster uncovers dangers in the notion of autonomy as it was originally conceived by Kant. Putting Adorno into dialogue with a range of European philosophers, notably Kant, Hegel, Horkheimer, and Habermas—as well as with a variety of contemporary Anglo-American thinkers such as Richard Rorty, Stanley Cavell, John McDowell, and Robert Pippin—he illuminates Adorno’s important revisions to this fraught concept and how his different understanding of autonomous agency, fully articulated, might open up new and positive social and political possibilities. Altogether, Autonomy after Auschwitz is a meditation on modern evil and human agency, one that demonstrates the tremendous ethical stakes at the heart of philosophy.
This book brings together two of the most important figures of twentieth-century criticism, Walter Benjamin and Theodor Adorno, to consider a topic that was central to their thinking: the place of and reason for art in society and culture. Thijs Lijster takes us through points of agreement and disagreement between the two on such key topics as the relationship between art and historical experience, between avant-garde art and mass culture, and between the intellectual and the public. He also addresses the continuing relevance of Benjamin and Adorno to ongoing debates in contemporary aesthetics, such as the end of art, the historical meaning of art, and the role of the critic.
We often say that music is ineffable, that it does not refer to anything outside of itself. But if music, in all its sensuous flux, does not mean anything in particular, might it still have a special kind of philosophical significance?
In Deep Refrains, Michael Gallope draws together the writings of Arthur Schopenhauer, Friedrich Nietzsche, Ernst Bloch, Theodor Adorno, Vladimir Jankélévitch, Gilles Deleuze, and Félix Guattari in order to revisit the age-old question of music’s ineffability from a modern perspective. For these nineteenth- and twentieth-century European philosophers, music’s ineffability is a complex phenomenon that engenders an intellectually productive sense of perplexity. Through careful examination of their historical contexts and philosophical orientations, close attention to their use of language, and new interpretations of musical compositions that proved influential for their work, Deep Refrains forges the first panoptic view of their writings on music. Gallope concludes that music’s ineffability is neither a conservative phenomenon nor a pious call to silence. Instead, these philosophers ask us to think through the ways in which music’s stunning force might address, in an ethical fashion, intricate philosophical questions specific to the modern world.
The unprecedented mass manipulation, mass death, and trauma of World War II created a heightened interest in technology and totalitarianism among European and American intellectuals. The Disposition of the Subject explores Theodor Adorno's attempt to hinder further atrocity through philosophical analysis of technology and of its contribution to totalitarianisms of various kinds: political, aesthetic, epistemological.
Hannah Arendt, Walter Benjamin, and Theodor W. Adorno were intellectual giants of the first half of the twentieth century. The drama Foreplay explores their deeply human and psychologically intriguing private lives, focusing on professional and personal jealousies, the mutual dislike of Theodor Adorno and Hannah Arendt, the association between Walter Benjamin and Georges Bataille, and the border between erotica and pornography.
Djerassi’s extensive biographical research brings to light many fascinating details revealed in the dialogues among the characters, including Adorno’s obsession with his dreams, Benjamin’s admiration for Franz Kafka, and the intimate correspondence between Gretel Adorno and Walter Benjamin. The introduction of a fictitious character, Fräulein X, intensifies the complex interplay among the four lead protagonists and allows for a comparison of Adorno’s philandering and the similar behavior of Martin Heidegger, whose affair with Hannah Arendt is well known. Foreplay brims with intrigue and the friction created when strong personalities clash.
The Powers of Sensibility: Aesthetic Politics through Adorno, Foucault, and Rancière explores the role aesthetic resources can play in an emancipatory politics. Michael Feola engages both critical theory and unruly political movements to challenge familiar anxieties about the intersection of politics and aesthetics. He shows how perception, sensibility, and feeling may contribute vital resources for conceptualizing citizenship, agency, and those spectacles that increasingly define global protest culture.
Feola provides insightful engagements with the works of Adorno, Foucault, and Rancière as well as a survey of contemporary debates on aesthetics and politics. He uses this aesthetic framework to develop a more robust account of political agency, demonstrating that politics is not reducible to the exchange of views or the building of institutions, but rather incorporates public modes of feeling, seeing, and hearing (or not-seeing and not-hearing). These sensory modes must themselves be transformed in the work of emancipatory politics.
The book explores the core question: what does the aesthetic offer that is missing from the official languages of politics, citizenship, and power? Of interest to readers in the fields of critical theory, political theory, continental philosophy, and aesthetics, The Powers of Sensibility roots itself within the classical tradition of critical theory and yet uses these resources to speak to a variety of contemporary political movements.
Theodor W. Adorno
Detlev Claussen Harvard University Press, 2008 Library of Congress B3199.A34C5813 2008 | Dewey Decimal 193
This book gives us our first clear look at how the man and his moment met to create “critical theory.” An intimate picture of the quintessential twentieth-century transatlantic intellectual, the book is also a window on the cultural ferment of Adorno’s day—and its ongoing importance in our own.
Theodor W. Adorno (1903–1969) was one of the twentieth century’s most important thinkers. In light of two pivotal developments—the rise of fascism, which culminated in the Holocaust, and the standardization of popular culture as a commodity indispensable to contemporary capitalism—Adorno sought to evaluate and synthesize the essential insights of Western philosophy by revisiting the ethical and sociological arguments of his predecessors: Kant, Nietzsche, Hegel, and Marx. This book, first published in Germany in 1996, provides a succinct introduction to Adorno’s challenging and far-reaching thought. Gerhard Schweppenhäuser, a leading authority on the Frankfurt School of critical theory, explains Adorno’s epistemology, social and political philosophy, aesthetics, and theory of culture.
After providing a brief overview of Adorno’s life, Schweppenhäuser turns to the theorist’s core philosophical concepts, including post-Kantian critique, determinate negation, and the primacy of the object, as well as his view of the Enlightenment as a code for world domination, his diagnosis of modern mass culture as a program of social control, and his understanding of modernist aesthetics as a challenge to conceive an alternative politics. Along the way, Schweppenhäuser illuminates the works widely considered Adorno’s most important achievements: Minima Moralia, Dialectic of Enlightenment (co-authored with Horkheimer), and Negative Dialectics. Adorno wrote much of the first two of these during his years in California (1938–49), where he lived near Arnold Schoenberg and Thomas Mann, whom he assisted with the musical aesthetics at the center of Mann’s novel Doctor Faustus.