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He was famously hostile to biography as a literary form. And yet this life of Adorno by one of his last students is far more than literary in its accomplishments, giving 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. The biography begins at the shining moment of the German bourgeoisie, in a world dominated by liberals willing to extend citizenship to refugees fleeing pogroms in Eastern Europe. Detlev Claussen follows Theodor Wiesengrund Adorno (1903–1969) from his privileged life as a beloved prodigy to his intellectual coming of age in Weimar Germany and Vienna; from his exile during the Nazi years, first to England, then to the United States, to his emergence as the Adorno we know now in the perhaps not-so-unlikely setting of Los Angeles. There in 1943 with his collaborator Max Horkheimer, Adorno developed critical theory, whose key insight—that to be entertained is to give one’s consent—helped define the intellectual landscape of the twentieth century. In capturing the man in his complex relationships with some of the century’s finest minds—including, among others, Arnold Schoenberg, Walter Benjamin, Thomas Mann, Siegfried Kracauer, Georg Lukács, Hannah Arendt, and Bertolt Brecht—Claussen reveals how much we have yet to learn from Theodor Adorno, and how much his life can tell us about ourselves and our time.

The range of Adorno's achievement, and the depth of his insights, is breathtaking and daunting. His work on literary, artistic, and musical forms, his devastating indictment of modern industrial society, and his profound grasp of Western culture from Homer to Hollywood have made him one of the most significant figures in twentieth-century thought. As one of the main philosophers of the Frankfurt School of Critical Theory, Adorno’s influence on literary theory, cultural studies, and philosophical aesthetics has been immense. His wide-ranging authorship is significant also to continental philosophy, political theory, art criticism, and musicology. Key ideas discussed in this guide include: art and aesthetics fun and free time nature and reason things, thoughts and being right This Routledge Critical Thinkers guide will equip readers with the tools required to critically interpret Adorno’s major works, whilst also introducing readers to his interpretation of classical German philosophy and his relationship to the most significant of his contemporaries.

He was famously hostile to biography as a literary form. And yet this life of Adorno by one of his last students is far more than literary in its accomplishments, giving 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.The biography begins at the shining moment of the German bourgeoisie, in a world dominated by liberals willing to extend citizenship to refugees fleeing pogroms in Eastern Europe. Detlev Claussen follows Theodor Wiesengrund Adorno (1903–1969) from his privileged life as a beloved prodigy to his intellectual coming of age in Weimar Germany and Vienna; from his exile during the Nazi years, first to England, then to the United States, to his emergence as the Adorno we know now in the perhaps not-so-unlikely setting of Los Angeles. There in 1943 with his collaborator Max Horkheimer, Adorno developed critical theory, whose key insight―that to be entertained is to give one’s consent―helped define the intellectual landscape of the twentieth century.In capturing the man in his complex relationships with some of the century’s finest minds―including, among others, Arnold Schoenberg, Walter Benjamin, Thomas Mann, Siegfried Kracauer, Georg Lukács, Hannah Arendt, and Bertolt Brecht―Claussen reveals how much we have yet to learn from Theodor Adorno, and how much his life can tell us about ourselves and our time.

Up to the end of the nineteenth century, Germany largely perceived itself as "the nation of poets and philosophers." But with the enormous popularity of Schubert and Wagner, this began to change. Suddenly, composers also began to play a greater role in theories of national identity, and music theory became and important element of German thought. The essays in this volume reflect this, and are by a range of writers: Adorno, Bloch, Thomas Mann, Wachenroder, Herder, E. T. A. Hoffmann, Hegel, Bettina von Arnim, Nietzsche, Max Weber, Brecht, and others.

He was famously hostile to biography as a literary form. And yet this life of Adorno by one of his last students is far more than literary in its accomplishments, giving 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.The biography begins at the shining moment of the German bourgeoisie, in a world dominated by liberals willing to extend citizenship to refugees fleeing pogroms in Eastern Europe. Detlev Claussen follows Theodor Wiesengrund Adorno (1903–1969) from his privileged life as a beloved prodigy to his intellectual coming of age in Weimar Germany and Vienna; from his exile during the Nazi years, first to England, then to the United States, to his emergence as the Adorno we know now in the perhaps not-so-unlikely setting of Los Angeles. There in 1943 with his collaborator Max Horkheimer, Adorno developed critical theory, whose key insight―that to be entertained is to give one’s consent―helped define the intellectual landscape of the twentieth century.In capturing the man in his complex relationships with some of the century’s finest minds―including, among others, Arnold Schoenberg, Walter Benjamin, Thomas Mann, Siegfried Kracauer, Georg Lukács, Hannah Arendt, and Bertolt Brecht―Claussen reveals how much we have yet to learn from Theodor Adorno, and how much his life can tell us about ourselves and our time.

The range of Adorno's achievement, and the depth of his insights, is breathtaking and daunting. His work on literary, artistic, and musical forms, his devastating indictment of modern industrial society, and his profound grasp of Western culture from Homer to Hollywood have made him one of the most significant figures in twentieth-century thought. As one of the main philosophers of the Frankfurt School of Critical Theory, Adorno’s influence on literary theory, cultural studies, and philosophical aesthetics has been immense. His wide-ranging authorship is significant also to continental philosophy, political theory, art criticism, and musicology. Key ideas discussed in this guide include: art and aesthetics fun and free time nature and reason things, thoughts and being right This Routledge Critical Thinkers guide will equip readers with the tools required to critically interpret Adorno’s major works, whilst also introducing readers to his interpretation of classical German philosophy and his relationship to the most significant of his contemporaries.

Bringing together the findings of psychoanalysis and social science, this book grew out of an urgent commitment to study the origins of anti-Semitism in the aftermath of Hitler's Germany. First published in 1951, it was greeted as a monumental study blazing new trails in the investigation of prejudice. As offshoots of ethnocentrism, anti-semitism and fascism cast new and dark shadows on the world, the topic again demands study and social action. "The Authoritarian Personality" remains an important document for our time.

Bringing together the findings of psychoanalysis and social science, this book grew out of an urgent commitment to study the origins of anti-Semitism in the aftermath of Hitler's Germany. First published in 1951, it was greeted as a monumental study blazing new trails in the investigation of prejudice. As offshoots of ethnocentrism, anti-semitism and fascism cast new and dark shadows on the world, the topic again demands study and social action. "The Authoritarian Personality" remains an important document for our time.

1032 S., OKart., gut erhalten Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

[First Edition] Dust jacket heavily worn with a number of tears, small losses, scuffs and stains, now wrapped in a removable archival sleeve; Boards firm and clean, corners sharp; Extensive ink highlighting and annotation throughout the text; Binding tight. Overall a nice and sturdy copy with copious highlighting. ; 24 x 16 x 3 cm; 350 pages

"The Melancholy Science" is Gillian Rose s investigation into TheodorAdorno s work and legacy. Rose uncovers the unity discernableamong the many fragments of Adorno s oeuvre, and argues that hisinfluence has been to turn Marxism into a search for style. The attempts of Adorno, Lukacs and Benjamin to develop a Marxisttheory of culture centred on the concept of reification are contrasted, and the ways in which the concept of reification has come to bemisused are exposed. Adorno s continuation for his own time ofthe Marxist critique of philosophy is traced through his writings onHegel, Kierkegaard, Husserl and Heidegger. His opposition to theseparation of philosophy and sociology is shown by examination ofhis critique of Durkheim and Weber, and of his contributions to thedispute over positivism, his critique of empirical social research andhis own empirical sociology. Gillian Rose shows Adorno s most important contribution to be hisfounding of a Marxist aesthetic that offers a sociology of culture, asdemonstrated in his essays on Kafka, Mann, Beckett, Brecht andSchonberg. Finally, Adorno s Melancholy Science is revealed tooffer a sociology of illusion that rivals both structural Marxism andphenomenological sociology as well as the subsequent work of theFrankfurt School."

The Melancholy Science is Gillian Rose’s investigation into Theodor Adorno’s work and legacy. Rose uncovers the unity discernable among the many fragments of Adorno’s oeuvre, and argues that his influence has been to turn Marxism into a search for style.The attempts of Adorno, Lukács and Benjamin to develop a Marxist theory of culture centred on the concept of reification are contrasted, and the ways in which the concept of reification has come to be misused are exposed. Adorno’s continuation for his own time of the Marxist critique of philosophy is traced through his writings on Hegel, Kierkegaard, Husserl and Heidegger. His opposition to the separation of philosophy and sociology is shown by examination of his critique of Durkheim and Weber, and of his contributions to the dispute over positivism, his critique of empirical social research and his own empirical sociology. Gillian Rose shows Adorno’s most important contribution to be his founding of a Marxist aesthetic that offers a sociology of culture, as demonstrated in his essays on Kafka, Mann, Beckett, Brecht and Schönberg. Finally, Adorno’s ‘Melancholy Science’ is revealed to offer a ‘sociology of illusion’ that rivals both structural Marxism and phenomenological sociology as well as the subsequent work of the Frankfurt School.

The correspondence between the philosopher Theodor W. Adorno and his politically active graduate student Elisabeth Lenk offers fresh insights into both Adorno’s view of surrealism and its relation to the student uprisings of 1960s France and Germany. Written between 1962, when Lenk moved to Paris and persuaded an initially reluctant Adorno to supervise her sociology dissertation on the surrealists, and Adorno’s death in 1969, these letters reveal a surprisingly tender side of the distinguished professor. The correspondence is accompanied by a selection of documents that bring additional depth and context to the letters and their engagement with the art and politics of the period.Filling in the background of Adorno and Lenk’s lively exchange, the volume includes new translations of classic essays by Walter Benjamin (“Surrealism: Last Snapshot of the European Intelligentsia”) and Adorno (“Surrealism Reconsidered”), along with a collection of short prose readings by Adorno and the writer-scholar Carl Dreyfus and three original essays by Lenk: her afterword to Paris Peasant by Louis Aragon, her Introduction to the German edition of Charles Fourier’s The Theory of the Four Movements and the General Destinies, and her incisive essay “Critical Theory and Surreal Practice.” An Introduction by Lenk’s student, the contemporary writer and critic Rita Bischof, points to the continuing challenge of surrealist politics.This remarkable body of correspondence appears here in English for the first time, as do Adorno and Dreyfus’s surrealist readings and the essays by Lenk. Together, they provide a rich mine of critical material for reassessing the significance of the surrealist movement and its successors.

Octavo; G+/G+ Hardcover w/ Dustjacket; Black spine with White text; Dustjacket has some edgewear, some shelfwear, bending along head edge of both covers and interior flaps, wrinkling at corners; Boards strong, some edgewear, some shelfwear, rubbing to corners; Textblock has toning along edges, foxing to some pages, small closed tear along fore edge of rear endpaper; 212 pp. 1341361. FP New Rockville Stock.

Hannah Arendt and Theodor W. Adorno, two of the most influential political philosophers and theorists of the twentieth century, were contemporaries with similar interests, backgrounds, and a shared experience of exile. Yet until now, no book has brought them together. In this first comparative study of their work, leading scholars discuss divergences, disclose surprising affinities, and find common ground between the two thinkers. This pioneering work recovers the relevance of Arendt and Adorno for contemporary political theory and philosophy and lays the foundation for a critical understanding of political modernity: from universalistic claims for political freedom to the abyss of genocidal politics.

Adorno and Heidegger explores the conflictual history of two important traditions of twentieth-century European thought: the critical theory of Theodor W. Adorno and the ontology of Martin Heidegger. As is well known, there has been little productive engagement between these two schools of thought, in large measure due to Adorno's sustained and unanswered critique of Heidegger. Stemming from this critique, numerous political and philosophical barriers have kept these traditions separate, such that they have rarely been submitted to scrutiny, let alone questioned. The essays making up this collection are fresh and original attempts at coming to terms with the nuances and difficulties that these two towering figures have bequeathed to the history of European thought. The volume's authors deal with a variety of issues ranging from epistemology to esthetics, to ethics, to intellectual history and modernity, providing the reader with detailed insight into a thorny debate in the history of recent European thought.

The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903-1969) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. As an accomplished musician, Adorno originally focused on the theory of culture and art. He later turned to the problem of the self-defeating dialectic of modern reason and freedom. A distinguished roster of Adorno specialists explores the full range of his contributions to philosophy, history, music theory, aesthetics and sociology in this collection of essays.

A sustained engagement with Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. Adorno's writings on jazz are notoriously dismissive. Nevertheless, Adorno does have faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a path he did not go, this book calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, Fumi Okiji makes the case for jazz as a model of "gathering in difference."Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.

Theodor Wiesengrund Adorno (1903-1969), the German sociologist and philosopher was one of the intellectual leaders of the post-war Frankfurt School. This book presents and analyzes Adorno's writings on theology and religion in a clear and accessible manner. It is targeted at upper level undergraduate and postgraduate students, and will not presuppose any familiarity with Adorno. The book includes a general introduction to Adorno's thought, and examines his relationship with the work of Walter Benjamin and Jewish theology, his confrontation with scientific positivism (Karl Popper), and his criticism of the "Culture Industry" and ideology. All of these topics are explored with attention to how they engage with contemporary debates within theology. This is accomplished by bringing Adorno's work into dialogue with major concerns and authors. The volume concludes by highlighting an often neglected aspect of Adorno's writing - his philosophy of music - and how this aesthetic appreciation of the sublime informs contemporary theological reflection.

This book offers a radical reappraisal of the intellectual affinities between Theodor W. Adorno and Samuel Beckett, in particular with regard to freedom and its reconceptualization by Adorno.