Reconstructing Aesthetic Theory Microform Between Habermas And Adorno

In this important new study, Pieter Duvenage shows that Habermas’s work on aesthetics, far from being marginal to his core concerns, is central to understanding and evaluating Habermas's entire theoretical enterprise. This important new study shows that Habermas's work on aesthetics is central to understanding and evaluating his entire theoretical enterprise. Duvenage demonstrates that, in the first phase of his intellectual career, Habermas emphasizes the communicative and societal relevance of art; in the second phase, the idea of a communicative aesthetics is worked out in terms of a theory of rationality. Reveals that Habermas’s later work offers a third, albeit undeveloped, alternative that suggests a convergence of the two. Offers a critical perspective on the role of aesthetics in Habermas's work and proposes possible alternatives.

The essays are organized around the twin themes of semblance and subjectivity. Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy ofconsciousness stemming from Kant, Hegel, and Lukacs.

The crisis of tradition early in the twentieth century?signaled by the collapse of perspective in painting and tonality in music and evident in the explosive ferment of the avant-garde movements?opened a new stage of modern art, which aesthetic theory is still struggling to comprehend. David Roberts situates the current aesthetic and cultural debates in a wider historical frame which extends from Hegel and the German Romantics to Luk¾cs and Adorno, Benjamin and Baudrillard. Art and Enlightenment: Aesthetic Theory after Adorno is the first detailed analysis in English of Theodor Adorno?s seminal Philosophy of Modern Music, which can be seen as a turning point between modern and postmodern art and theory. Adorno's diagnosis of the crisis of modernist values points back to Hegel's thesis of the end of art and also forward to the postmodernist debate. Thus the paradoxes of Adorno?s negative aesthetics return to haunt the current discussion by representatives of the second generation of the Frankfurt School, Anglo-American Marxism, and French poststructuralism. Going beyond Adorno's dialectic of musical enlighten-ment, Roberts proposes an alternative model of the enlightenment, of art applied to literature and exemplified in the outline of a theory of parody. In its critique of Adorno, Art and Enlightenment clears the way for a reconsideration of twentieth-century artistic theory and practice and also, in offering a model of postmodern art, seeks to disentangle critical issues in the discussion of the avant-garde, modernism, and postmodernism.

Theodor W. Adorno was a major twentieth-century philosopher and social critic whose writings on oppositional culture in art, music, and literature increasingly stand at the center of contemporary intellectual debate. In this excellent collection, Robert Hullot-Kentor, widely regarded as the most distinguished American translator and commentator on Adorno, gathers together sixteen essays he has written about the philosopher over the past twenty years. The opening essay, "Origin Is the Goal," pursues Adorno's thesis of the dialectic of enlightenment to better understand the urgent social and political situation of the United States. "Back to Adorno" examines Adorno's idea that sacrifice is the primordial form of human domination; "Second Salvage" reconstructs Adorno's unfinished study of the transformation of music in radio transmission; and "What Is Mechanical Reproduction" revisits Adorno's criticism of Walter Benjamin. Further essays cover a broad range of topics: Adorno's affinities with Wallace Stevens and Nabokov, his complex relationship with Kierkegaard and psychoanalysis, and his critical study of popular music. Many of these essays have been revised, with new material added that emphasizes the relevance of Adorno's thought to the United States today. Things Beyond Resemblance is a timely and richly analytical collection crucial to the study of critical theory, aesthetics, continental philosophy, and Adorno.

Theodor W. Adorno and Jnrgen Habermas both champion the goal of a rational society. However, they differ significantly about what this society should look like and how best to achieve it. Exploring the premises shared by both critical theorists, along with their profound disagreements about social conditions today, this book defends Adorno against Habermas' influential criticisms of his account of Western society and prospects for achieving reasonable conditions of human life. The book begins with an overview of these critical theories of Western society. Both Adorno and Habermas follow Georg Lukacs when they argue that domination consists in the reifying extension of a calculating, rationalizing form of thought to all areas of human life. Their views about reification are discussed in the second chapter. In chapter three the author explores their conflicting accounts of the historical emergence and development of the type of rationality now prevalent in the West. Since Adorno and Habermas claim to have a critical purchase on reified social life, the critical leverage of their theories is assessed in chapter four. The final chapter deals with their opposing views about what a rational society would look like, as well as their claims about the prospects for establishing such a society. Adorno, Habermas and the Search for a Rational Society will be essential reading for students and researchers of critical theory, political theory and the work of Adorno and Habermas.

In this book Christoph Menke attempts to explain art's sovereign power to subvert reason without falling into an error common to Adorno's negative dialectics and Derrida's deconstruction.