By Brian O’Connor
Theodor W. Adorno (1903-69) used to be one of many superior philosophers and social theorists of the post-war interval. an important to the improvement of severe thought, his hugely unique and exact yet usually tough writings not just improve questions of basic philosophical importance, yet supply deep-reaching analyses of literature, paintings, track sociology and political theory.
In this accomplished advent, 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 outline of Adorno’s existence and key philosophical perspectives and affects, which contextualizes the highbrow setting within which he labored, O’Connor assesses the primary parts of Adorno’s philosophy.
He rigorously examines Adorno’s unique form of research and exhibits how a lot of his paintings is a serious reaction to a few of the kinds of identification considering that experience underpinned the harmful forces of modernity. He is going directly to talk about the most parts of Adorno’s philosophy: social concept, the philosophy of expertise, metaphysics, morality and aesthetics; starting off designated money owed of Adorno’s notions of the dialectic of Enlightenment, reification, totality, mediation, id, nonidentity, adventure, detrimental dialectics, immanence, freedom, autonomy, imitation and autonomy in paintings. the ultimate bankruptcy considers Adorno’s philosophical legacy and value today.
Including a chronology, word list, bankruptcy summaries, and proposals for extra interpreting, Adorno is a perfect advent to this tough yet very important philosopher, and crucial analyzing for college students of philosophy, literature, sociology and cultural studies.
“Introductions resembling Brian O’Connor’s Adorno are a style of their personal correct with their right calls for. ... O’Connor’s kind is cautious, mercifully jargon-free, and well suited for the style. he's not seduced into emulating Adorno’s scintillating sort, and he handles Adorno’s abstruse suggestions with perception and dexterity.” —James Gordon Finlayson, Notre Dame Philosophical Reviews
“O’Connor’s publication sticks out as an incredibly lucid and trustworthy advent to a notoriously tricky philosopher. i will be able to think about no examine of this type that so elegantly and successfully explores Adorno’s notion and its relevance to our personal time.” —Espen Hammer, Temple collage, USA
“This long-awaited creation is a perfect start line for an individual attracted to Adorno’s wealthy and tough paintings. O’Connor succeeds in combining accessibility with philosophical sophistication and interpretative nuance. He unlocks significant problems with which Adorno’s writings provides us and demonstrates the iconic value of non-identity thinking.” —Fabian Freyenhagen, collage of Essex, UK
“This is surely the simplest advent to Adorno on hand, and will be suggested to an individual hoping to familiarize themselves with this tough and lucrative philosopher.” —Owen Hulatt, Unversity of York, UK
“This publication is a so much welcome boost to the Routledge Philosophers sequence. Brian O’Connor’s slender quantity could be the main concise but wide-ranging of all introductions to Theodor W. Adorno’s (1903–1969) idea at present in print this day. O’Connor’s textual content merits a place at the shelf of a person who's drawn to the Frankfurt institution mostly or Adorno particularly. people who are drawn to studying extra in regards to the thinker by means of the identify of Adorno will be clever to select this booklet up.” —Patrick Gamsby, Brandeis collage, USA
“...this new creation is lucid and gripping...In specific, it truly is first-class in bringing out the importance of Adorno’s criticisms of identity-thinking, that are too frequently brushed off as obscure.” —Koshka Duff, Marx & Philosophy evaluation of Books
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Additional info for Adorno (Routledge Philosophers)
Following Gaiger’s descriptive historicism, I argue that in turning Hegel “on his head” we can see that the tensions inherent in the majority of modern art can be subjected to rich exegesis using the Hegelian model, and we can see that this model can also shed light on some of the tensions we recognise in the aesthetic of Romanticism. Further, the dynamics inherent in Hegel’s theory of recognition are also inherent in his philosophy of art. The teleology of Hegel’s social theory can be 34 Hegel and the English Romantic Tradition fruitfully applied to his aesthetic theory, even though this was something never intended (or accomplished) by Hegel himself.
Art in general is for Hegel a form of concrete universality, and therefore the whole precedes its parts, as in religion and philosophy. However, as representation, art works in a sense on a synechdochic level in that it grasps the whole in its concrete universality and yet represents the whole through its particular parts. Moreover, at the stage of the romantic there is an even wider bridge between the representations of the whole through the parts – at this point Hegel argues that the concrete universality of religion as intuition is more suited to expression of the Spirit in the form of Christianity.
Not only is the rationale for commencing with a reading of “Kubla Khan” to do with dates (it is conjectured to have been originally composed in October 1797); I also feel that Coleridge’s philosophical optimism is at its strongest at this early stage in his poetic career and when he feels closest to the intellectual intuition he seeks through the medium of poesy. Moreover, by the time he composes “Frost at Midnight” in 1798 his consciousness has vacillated towards a more receptive position – a position given over to his earlier associationism.