By Brian O’Connor
Theodor W. Adorno (1903-69) used to be one of many most well known philosophers and social theorists of the post-war interval. an important to the advance of serious conception, his hugely unique and precise yet usually tough writings not just enhance questions of primary philosophical value, yet supply deep-reaching analyses of literature, artwork, song sociology and political theory.
In this accomplished creation, Brian O’Connor explains Adorno’s philosophy for these coming to his paintings for the 1st time, via unique new traces of interpretation. starting with an summary of Adorno’s existence and key philosophical perspectives and impacts, which contextualizes the highbrow surroundings during which he labored, O’Connor assesses the principal parts of Adorno’s philosophy.
He conscientiously examines Adorno’s unique form of research and indicates how a lot of his paintings is a serious reaction to some of the sorts of identification pondering that experience underpinned the damaging forces of modernity. He is going directly to speak about the most parts of Adorno’s philosophy: social conception, the philosophy of expertise, metaphysics, morality and aesthetics; starting off designated debts of Adorno’s notions of the dialectic of Enlightenment, reification, totality, mediation, id, nonidentity, event, adverse dialectics, immanence, freedom, autonomy, imitation and autonomy in paintings. the ultimate bankruptcy considers Adorno’s philosophical legacy and significance today.
Including a chronology, word list, bankruptcy summaries, and proposals for additional examining, Adorno is a perfect creation to this not easy yet very important philosopher, and crucial analyzing for college students of philosophy, literature, sociology and cultural studies.
“Introductions comparable to Brian O’Connor’s Adorno are a style of their personal correct with their right calls for. ... O’Connor’s sort is cautious, mercifully jargon-free, and well suited for the style. he's not seduced into emulating Adorno’s scintillating variety, and he handles Adorno’s abstruse options with perception and dexterity.” —James Gordon Finlayson, Notre Dame Philosophical Reviews
“O’Connor’s e-book stands proud as a really lucid and trustworthy advent to a notoriously tough philosopher. i will contemplate no research of this sort that so elegantly and successfully explores Adorno’s suggestion and its relevance to our personal time.” —Espen Hammer, Temple collage, USA
“This long-awaited advent is a perfect place to begin for somebody drawn to Adorno’s wealthy and hard paintings. O’Connor succeeds in combining accessibility with philosophical sophistication and interpretative nuance. He unlocks significant problems with which Adorno’s writings offers us and demonstrates the long-lasting significance of non-identity thinking.” —Fabian Freyenhagen, college of Essex, UK
“This is surely the simplest creation to Adorno on hand, and will be instructed to a person hoping to familiarize themselves with this hard and profitable philosopher.” —Owen Hulatt, Unversity of York, UK
“This e-book is a so much great addition to the Routledge Philosophers sequence. Brian O’Connor’s narrow quantity is likely to be the main concise but wide-ranging of all introductions to Theodor W. Adorno’s (1903–1969) idea presently in print this day. O’Connor’s textual content merits a place at the shelf of a person who's attracted to the Frankfurt tuition generally or Adorno specifically. those people who are attracted to studying extra concerning the thinker by way of the identify of Adorno will be clever to select this ebook up.” —Patrick Gamsby, Brandeis college, USA
“...this new creation is lucid and gripping...In specific, it truly is very good in bringing out the importance of Adorno’s criticisms of identity-thinking, that are too usually pushed aside as obscure.” —Koshka Duff, Marx & Philosophy overview of Books
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Additional info for Adorno (Routledge Philosophers)
In art one does not have to be “realistic,” for humanity is at stake, not one’s occupation or status. Suffering is suffering and joy is joy. The world appears as what it is behind the commodity form: a landscape is really a landscape, a human is really a human, a thing really a thing. (p. 104 below) While Marcuse believed that bourgeois art had a progressive function during its earlier phases and still contains the potential to animate individuals to seek a better life, he argued that it had “entered increasingly into the service of the suppression of the discontented masses” (p.
46 See Douglas Kellner, “Introduction,” in Technology, War and Fascism. 47 Louis Aragon (1897–1982) was a French poet, novelist, and essayist, a founder of surrealism with Apollinaire, Paul Éluard, André Breton, and Luis Buñuel among others. Aragon was also a political activist and spokesman for communism, as well as an acclaimed and inﬂuential writer who considerably inﬂuenced French theories of the novel and poetic theory. The 1945 text exhibits the ﬁrst evidence of Marcuse’s serious engagement with French writers, which would continue his entire life.
But Aragon and the poetry of his radical comrades utilizes a classically severe form to present the emancipatory content, thus providing an anticipation of Marcuse’s later position – namely, that it is the aesthetic form that inscribes the aesthetic dimension and accounts for the emancipatory power of art. 30 Introduction But Marcuse also stresses the potential oppositional power of extreme love, a position adumbrated in his dissertation on The German Artist Novel that will be taken up in his emphasis on the emancipatory potential of the aesthetic-erotic dimension in Eros and Civilization and later writings.