Theodor W. Adorno (1903–1969)
Author of Dialectic of Enlightenment
About the Author
Theodor W. Adorno is the progenitor of critical theory, a central figure in aesthetics, and the century's foremost philosopher of music. He was born and educated in Frankfurt, Germany. After completing his Ph.D. in philosophy, he went to Vienna, where he studied composition with Alban Berg. He soon show more was bitterly disappointed with his own lack of talent and turned to musicology. In 1928 Adorno returned to Frankfurt to join the Institute for Social Research, commonly known as The Frankfurt School. At first a privately endowed center for Marxist studies, the school was merged with Frankfort's university under Adorno's directorship in the 1950s. As a refugee from Nazi Germany during World War II, Adorno lived for several years in Los Angeles before returning to Frankfurt. Much of his most significant work was produced at that time. Critics find Adorno's aesthetics to be rich in insight, even when they disagree with its broad conclusions. Although Adorno was hostile to jazz and popular music, he advanced the cause of contemporary music by writing seminal studies of many key composers. To the distress of some of his admirers, he remained pessimistic about the prospects for art in mass society. Adorno was a neo-Marxist who believed that the only hope for democracy was to be found in an interpretation of Marxism opposed to both positivism and dogmatic materialism. His opposition to positivisim and advocacy of a method of dialectics grounded in critical rationalism propelled him into intellectual conflict with Georg Hegel, Martin Heidegger, and Heideggerian hermeneutics. (Bowker Author Biography) show less
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Series
Works by Theodor W. Adorno
Walter Benjamin and Theodor Adorno: The Complete Correspondence, 1928-1940 (1994) 101 copies, 1 review
Against Epistemology: A Metacritique. Studies in Husserl and the Phenomenological Antinomies (1981) 101 copies
Gesammelte Schriften Bd. 5: Zur Metakritik der Erkenntnistheorie. Drei Studien zu Hegel (1971) 22 copies
Group experiment and other writings : the Frankfurt School on public opinion in postwar Germany (1955) 12 copies
Sobre la musica/ About the Music (Pensamiento Contemporaneo/ Contemporary Thought) (Spanish Edition) (2000) 10 copies
Gesammelte Schriften in 20 Bänden: Band 20: Vermischte Schriften. (2 Bde.): 2 Bände. (suhrkamp taschenbuch wissenschaft) (1986) 10 copies
Gesammelte Schriften in 20 Bänden: Band 9: Soziologische Schriften II. 2 Bände (suhrkamp taschenbuch wissenschaft) (2003) 9 copies
Epistemologia y ciencias sociales/ Epistemology and Social Sciences (Fronesis) (Spanish Edition) (2001) 7 copies
Filosofía y superstición 7 copies
Le laboratoire de la Dialectique de la raison : discussions, notes et fragments inédits (2013) 7 copies
Gesammelte Schriften Bd. 17: Musikalische Schriften 4: Moments musicaux ; Impromptus (1982) 6 copies
Escritos musicales I-III. Figuras sonoras; Quasi una fantasia; Escritos musicales III / 16 ; obra completa (2006) 6 copies
Parva aesthetica: saggi 1958-1967 5 copies
Thomas Mann & Theodor W. Adorno: An Exchange: 100 Notes, 100 Thoughts: Documenta Series 050 (100 Notes - 100 Thoughts / 100 Notizen - 100 Gedanken: Documenta, 13) (2012) — Author — 5 copies
Scritti sociologici 4 copies
Marx vivo: la presenza di Karl Marx nel pensiero contemporaneo (1969) — Contributor — 4 copies, 1 review
Sociología i psicologia 4 copies
Escritos musicales VI. Obra completa 19 (Básica de Bolsillo - Adorno, Obra Completa nº 81) (Spanish Edition) (2014) 3 copies
Note per la letteratura: 1943-1961 3 copies
Über einige Relationen zwischen Musik und Malerei / Die Kunst und die Künste (Anmerkungen zur Zeit; Heft 12) (1967) 3 copies
»So müßte ich ein Engel und kein Autor sein«: Adorno und seine Frankfurter Verleger. Der Briefwechsel mit Peter Suhrkamp und Siegfried Unseld (2003) 2 copies
Moda sem tempo sobre o "jazz" 2 copies
Nachgelassene Schriften. Abteilung IV: Vorlesungen: Band 6: Philosophie und Soziologie (1960) (2011) 2 copies
Crítica de la Cultura y de la Sociedad II. Obra completa, 10/2 (Básica de Bolsillo nº 72) (Spanish Edition) (2018) 2 copies
Nachgelassene Schriften. Abteilung V: Vorträge und Gespräche: Band 1: Vorträge 1949-1968 (2019) 2 copies
Escritos sociológicos I. Obra completa 8 (Básica de Bolsillo nº 68) (Spanish Edition) (2019) 2 copies
Bemerkungen zu ›The Authoritarian Personality‹: und weitere Texte (suhrkamp taschenbuch wissenschaft) (2019) 2 copies
Escritos Sociológicos II. Vol. 1. Obra completa 9/1 (Básica de Bolsillo nº 69) (Spanish Edition) (2019) 2 copies
Escritos Sociológicos II. Vol. 2. Obra completa 9/2 (Básica de Bolsillo) (Spanish Edition) (2019) 1 copy
Filosofi tedeschi d'oggi — Author — 1 copy
Zur Metakritik der Erkenntnistheorie. Studien über Husserl und die phänomenologischen Antinomien 1 copy
Présences d' Adorno 1 copy
cultura e amministrazione 1 copy
Chaplin Times Two 1 copy
Über Theodor W. Adorno 1 copy
Free Time 1 copy
Dialettica della famiglia. Genesi, struttura e dinamica di un'istituzione repressiva (1974) — Contributor — 1 copy, 1 review
Sociološke studije 1 copy
Adorno [Opere di] 1 copy
Čemu još filozofija 1 copy
Adorno Theodor 1 copy
Notas sobre arte 1 copy
Filosofia e simbolismo 1 copy
A IDÉIA DE HISTÓRIA NATURAL 1 copy
Transparencies on Film 1 copy
Temas básicos da sociologia 1 copy
La ideología como lenguaje 1 copy
Miscelánea II. Obra completa 20/2 (Básica de Bolsillo - Adorno, Obra Completa nº 83) (Spanish Edition) (2014) 1 copy
Crítica de la Cultura y de la Sociedad I. Obra completa, 10/1 (Básica de Bolsillo nº 71) (Spanish Edition) (2018) 1 copy
Escritos filosóficos tempranos. Obra completa 1 (Básica de Bolsillo nº 61) (Spanish Edition) (2018) 1 copy
Subject and Object 1 copy
Telos: Spring 1974 1 copy
Note per la letteratura : 1961-1968 — Author — 1 copy
Drömdagbok 1 copy
¿Marx superado? 1 copy
Dialéctica del iluminismo 1 copy
Briefe und Briefwechsel : Band 9: Theodor W. Adorno/Rudolf Kolisch Briefwechsel 1926-1969 (2023) 1 copy
Briefe und Briefwechsel: Band 6.I: Theodor W. Adorno/Ernst Krenek. Briefwechsel 1929-1964 (2020) 1 copy
"Subject and Object" 1 copy
Seni Menulis Esai 1 copy
Associated Works
The Philosopher's Handbook: Essential Readings from Plato to Kant (2000) — Contributor — 234 copies, 1 review
Lapham's Quarterly - Lines of Work: Volume IV, Number 2, Spring 2011 (2011) — Contributor — 32 copies, 2 reviews
The intellectual tradition of modern Germany : A collection of writings from the eighteenth to the twentieth century (1973) — Contributor — 3 copies
The intellectual tradition of modern Germany : A collection of writings from the eighteenth to the twentieth century : Volume 2 : History and Society (1973) — Contributor — 3 copies
Tagged
Common Knowledge
- Canonical name
- Adorno, Theodor W.
- Legal name
- Adorno, Theodor Ludwig Wiesengrund
- Other names
- Adorno-Wiesengrund, Theodor
- Birthdate
- 1903-09-11
- Date of death
- 1969-08-06
- Gender
- male
- Education
- University of Frankfurt (PhD in philosophy)
Kaiser-Wilhelm Gymnasium
University of Oxford (Merton College) - Occupations
- philosopher
social theorist
musicologist - Organizations
- Institute for Social Research, Frankfurt
- Relationships
- Adorno, Gretel (wife)
- Cause of death
- heart attack
- Nationality
- Germany
- Birthplace
- Frankfurt, Hesse-Nassau, Prussia, German Empire
- Places of residence
- Vienna, Austria
Frankfurt am Main, Germany
Berlin, Germany
Oxford, Oxfordshire, England, UK
Pacific Palisades, California, USA - Place of death
- Visp, Kanton Wallis, Switzerland
- Burial location
- Hauptfriedhof, Frankfurt-on-Main, Germany
Members
Discussions
Note from a German philosopher in Pro and Con (September 2013)
Th. W. Adorno in Philosophy and Theory (July 2008)
Reviews
For years, hell – decades, I have been reading nonfiction well-peppered with quotes from Theodor Adorno. He gets cited for practically any subject. He had pithy things to say about seemingly everything, from psychology to television. I have built up an image of him as perceptive, wise and insightful. A true polymath, rare in the last century. So I was delighted to be offered a brand new book of his collected essays on culture. It’s called Without Model and it is very revealing – but show more not in a good way.
Adorno was first and foremost a musician, he said. As an German intellectual as well, he used his love of music to interpret everything he experienced along with lots he just read about. The results have often been inspiring. But having read the 16 essays here, I now see Adorno as more of a linguine chef, throwing sentences against a wall to see if they stick. The undercooked vastly outnumber the worthwhile ones.
Adorno thrived in the first two thirds of the 20th century, so he has plenty to say about cultural shifts, including art, film and of course, music.
My first real problem with Adorno is his use of the word immanent, meaning inherent or built-in. He uses it at least 25 times in these essays, more than I have ever seen it employed, and it is stifling. He seeks to cripple artistic license and expression with it. He makes sweeping claims about people, society, art and architecture—with no backup whatsoever—by claiming they have immanent structures and processes, like Western music does. I totally disagree that everything has a rule set to constrict it. If anything, I see art and culture striking out in all directions, often crazily, straining to reject any rule sets if they actually try to interpose themselves. It is often the artist’s specific goal to break as many rules as possible while saying something important. (And yes, I know he is far from the only one to deny this.)
Another problem is unsubstantiated claims. Adorno makes them and moves on, leaving them dangling. For example, there’s this observation on a paradox of culture: “Tradition confronts us today with an irresolvable contradiction: there is none present and can be summoned, yet if all trace of it is erased, the march towards inhumanity begins.” Not fundamentally true from where I stand, and not explained, let alone proved, by Adorno. Another example: “From a distance, however, the Eiffel Tower is the slim, hazy symbol that extends indestructible Babylon into the sky of modernity.” There are plenty more of these, and as I read them, I came to the conclusion they were not worth further thought at all. They are superficial, trivial and inconsequential observations based on nothing whatsoever.
Yet from this same rulebound writer comes a chapter in a multipart essay that begins with the word “However”. I freely confess it stopped me. I’ve never seen that before. They’d have flunked me in English had I tried that stunt.
But every so often, there is an insight that is memorable, such as his reminiscence as a ten year old being treated as worthy and a peer by a professional singer: ”I felt I had been taken up simultaneously into the adult world and the dreamt world, not yet suspecting how irreconcilable they are.” That’s the Adorno I love to see quoted. There’s also this result of his readings: “…a faithful translation of the Greek—Aristotphanic—word that I understood better the less I knew it: utopia.” Finally, in a discussion on inequality, he says “All the literature that rails against snobbery, which is in fact immanent in a society where formal equality serves to produce actual inequality and domination, conceals the wound even as it rubs salt into it.” These are inviting ideas I would love to read further on. But Adorno has already sprinted away to other thoughts. He was a busy thinker.
Some things to totally disagree with:
-For some unexplored reasons, Adorno hated art nouveau. This is a style I happen to love. I even dealt in art nouveau antiques for a number of years, so I am very well versed in it and its artists. Adorno says things like ”…all the films that wish to let wandering clouds and darkened ponds speak for themselves are leftovers of art nouveau.” This is not only a slight on art nouveau, but wrong about film as well. He does not follow up with an explanation, either. He unexpectedly goes after art nouveau this way six or eight times in the course of the book. It is not endearing – or even elaborated. Art nouveau broke the mold of the suffocating Victorian rule books, in art, in design, in furniture, furnishings and appliances, and in architecture. It was the last time that form mattered more than function. It was joyous and wild and liberating. But for Adorno “the arts defied the neat standardization—which is exactly what art nouveau was.”
-The Baroque era comes in for even more intense floggings. He claims that we today express an ”ideological misuse of the Baroque,” which somehow lessens its importance in music, art and architecture. Yes, baroque has become an amorphous adjective, but so what?
-He says it is “nonsense” to perform the music of the Baroque era on period instruments, which happens to be a very popular trend, for a several decades now. Yes, instruments today are far more sophisticated, but that does not lessen the experience of hearing what the composer and the audience heard in that era.
-He claims blurred shots and flashbacks in film are “silliness” and that we should “renounce” them, basically because they counter the realism so central to film. Could anything in culture be less true?
But worse, his language is immensely dense. It is often difficult to make sense of his sentences, though they seem to be well constructed: “The demand for a meaningful relation between materials, procedures and import on the one hand and the fetishism of means on the other blend into a murky texture.” This is something Noam Chomsky could have written about meaning and grammar. It looks like good language, but at the same time it also appears to be total gibberish. There are whole pages of this. I refuse to go back and try to make sense of them.
And his all-out dismissals become tiresome:
-“Every commercial film is really no more than trailer for what it promises the viewer while cheating them of the same.” So much for film.
-The same applies to art: “In order to become fully art, art must crystallize autonomously according to its own formal law. This is what constitutes its truth content; otherwise it would be subordinate to what it denies through its mere existence.” This too goes on for more than a page, and as far as I can see, explains nothing that needs explaining and is of no use in liking, appreciating or promoting art.
-He even blithely dismisses the poor, saying “If there were no more poverty, humanity would have to be able to sleep as unguardedly as only its poorest do today.” Poverty provides the best sleep? Not only painfully wrong, but so arrogant. Spoken like an effete elitist.
Finally, the book provides references to minor German artists and thinkers that readers will not have heard of. It makes his claims null and void as there is little way to understand what he meant with these references. The cultural restrictions on top of the wild claims will lead readers to rush past the entire section instead. Because stopping to research the reference will almost certainly not result in a Eureka moment.
So it is a difficult book to enjoy or learn from.
Without Model is billed as unique – the first time these essays on art and culture have been translated into English. I think it is self-evident why.
David Wineberg show less
Adorno was first and foremost a musician, he said. As an German intellectual as well, he used his love of music to interpret everything he experienced along with lots he just read about. The results have often been inspiring. But having read the 16 essays here, I now see Adorno as more of a linguine chef, throwing sentences against a wall to see if they stick. The undercooked vastly outnumber the worthwhile ones.
Adorno thrived in the first two thirds of the 20th century, so he has plenty to say about cultural shifts, including art, film and of course, music.
My first real problem with Adorno is his use of the word immanent, meaning inherent or built-in. He uses it at least 25 times in these essays, more than I have ever seen it employed, and it is stifling. He seeks to cripple artistic license and expression with it. He makes sweeping claims about people, society, art and architecture—with no backup whatsoever—by claiming they have immanent structures and processes, like Western music does. I totally disagree that everything has a rule set to constrict it. If anything, I see art and culture striking out in all directions, often crazily, straining to reject any rule sets if they actually try to interpose themselves. It is often the artist’s specific goal to break as many rules as possible while saying something important. (And yes, I know he is far from the only one to deny this.)
Another problem is unsubstantiated claims. Adorno makes them and moves on, leaving them dangling. For example, there’s this observation on a paradox of culture: “Tradition confronts us today with an irresolvable contradiction: there is none present and can be summoned, yet if all trace of it is erased, the march towards inhumanity begins.” Not fundamentally true from where I stand, and not explained, let alone proved, by Adorno. Another example: “From a distance, however, the Eiffel Tower is the slim, hazy symbol that extends indestructible Babylon into the sky of modernity.” There are plenty more of these, and as I read them, I came to the conclusion they were not worth further thought at all. They are superficial, trivial and inconsequential observations based on nothing whatsoever.
Yet from this same rulebound writer comes a chapter in a multipart essay that begins with the word “However”. I freely confess it stopped me. I’ve never seen that before. They’d have flunked me in English had I tried that stunt.
But every so often, there is an insight that is memorable, such as his reminiscence as a ten year old being treated as worthy and a peer by a professional singer: ”I felt I had been taken up simultaneously into the adult world and the dreamt world, not yet suspecting how irreconcilable they are.” That’s the Adorno I love to see quoted. There’s also this result of his readings: “…a faithful translation of the Greek—Aristotphanic—word that I understood better the less I knew it: utopia.” Finally, in a discussion on inequality, he says “All the literature that rails against snobbery, which is in fact immanent in a society where formal equality serves to produce actual inequality and domination, conceals the wound even as it rubs salt into it.” These are inviting ideas I would love to read further on. But Adorno has already sprinted away to other thoughts. He was a busy thinker.
Some things to totally disagree with:
-For some unexplored reasons, Adorno hated art nouveau. This is a style I happen to love. I even dealt in art nouveau antiques for a number of years, so I am very well versed in it and its artists. Adorno says things like ”…all the films that wish to let wandering clouds and darkened ponds speak for themselves are leftovers of art nouveau.” This is not only a slight on art nouveau, but wrong about film as well. He does not follow up with an explanation, either. He unexpectedly goes after art nouveau this way six or eight times in the course of the book. It is not endearing – or even elaborated. Art nouveau broke the mold of the suffocating Victorian rule books, in art, in design, in furniture, furnishings and appliances, and in architecture. It was the last time that form mattered more than function. It was joyous and wild and liberating. But for Adorno “the arts defied the neat standardization—which is exactly what art nouveau was.”
-The Baroque era comes in for even more intense floggings. He claims that we today express an ”ideological misuse of the Baroque,” which somehow lessens its importance in music, art and architecture. Yes, baroque has become an amorphous adjective, but so what?
-He says it is “nonsense” to perform the music of the Baroque era on period instruments, which happens to be a very popular trend, for a several decades now. Yes, instruments today are far more sophisticated, but that does not lessen the experience of hearing what the composer and the audience heard in that era.
-He claims blurred shots and flashbacks in film are “silliness” and that we should “renounce” them, basically because they counter the realism so central to film. Could anything in culture be less true?
But worse, his language is immensely dense. It is often difficult to make sense of his sentences, though they seem to be well constructed: “The demand for a meaningful relation between materials, procedures and import on the one hand and the fetishism of means on the other blend into a murky texture.” This is something Noam Chomsky could have written about meaning and grammar. It looks like good language, but at the same time it also appears to be total gibberish. There are whole pages of this. I refuse to go back and try to make sense of them.
And his all-out dismissals become tiresome:
-“Every commercial film is really no more than trailer for what it promises the viewer while cheating them of the same.” So much for film.
-The same applies to art: “In order to become fully art, art must crystallize autonomously according to its own formal law. This is what constitutes its truth content; otherwise it would be subordinate to what it denies through its mere existence.” This too goes on for more than a page, and as far as I can see, explains nothing that needs explaining and is of no use in liking, appreciating or promoting art.
-He even blithely dismisses the poor, saying “If there were no more poverty, humanity would have to be able to sleep as unguardedly as only its poorest do today.” Poverty provides the best sleep? Not only painfully wrong, but so arrogant. Spoken like an effete elitist.
Finally, the book provides references to minor German artists and thinkers that readers will not have heard of. It makes his claims null and void as there is little way to understand what he meant with these references. The cultural restrictions on top of the wild claims will lead readers to rush past the entire section instead. Because stopping to research the reference will almost certainly not result in a Eureka moment.
So it is a difficult book to enjoy or learn from.
Without Model is billed as unique – the first time these essays on art and culture have been translated into English. I think it is self-evident why.
David Wineberg show less
Adorno's reception in the English speaking world has been very, very skewed. He is essentially a social theorist, for whom culture and philosophy are ways to understand society. He has far too often been presented as an aesthete who hates social theory; his distinctive and original philosophical thought has been ignored; and far too much weight has been put on his dislike of mass produced music.
The lectures are a good corrective to all of this: they present his thought in a way that he show more would no doubt have hated, but he would have been wrong to hate it, even based on his own thought (I'm convinced I could have convinced him to be more dialectical on the question of communicability). This particular set is particularly helpful. It's short. It makes it very clear that Adorno was a follower of Marx, if not a Marxist. It makes it *very* clear that he was more critical of Weber than impressed by him. Highly recommended to those who are interested. show less
The lectures are a good corrective to all of this: they present his thought in a way that he show more would no doubt have hated, but he would have been wrong to hate it, even based on his own thought (I'm convinced I could have convinced him to be more dialectical on the question of communicability). This particular set is particularly helpful. It's short. It makes it very clear that Adorno was a follower of Marx, if not a Marxist. It makes it *very* clear that he was more critical of Weber than impressed by him. Highly recommended to those who are interested. show less
Adorno's magnum opus. Frustrating, eclectic, incisive, like a flame to the synapse. Undoubtedly the greatest work on Aesthetics in the 20th Century. Spars with the Aesthetics of Kant, Hegel, Valery, Benjamin as Adorno traverses a manifold of artistic mediums and numerous specific artist. What is form and content, what is meaning, what is truth-content, what is technique, what is arts relation to society, to it's creator, how should it be understood? Just some of the many questions this book show more stages. His chapter on the notion of Modernism alone is enough reason to grab this.
Well bound, nice typeface..great, because this is a book for life. Highly recommended. show less
Well bound, nice typeface..great, because this is a book for life. Highly recommended. show less
I've been getting unnecessarily analytical in recent reviews of dystopian fiction, always a sign it's time to read some philosophy or critical theory. Lars Iyers' [b:My Weil|125078701|My Weil|Lars Iyer|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1684790532l/125078701._SX50_.jpg|146524627] reminded me that doing so is fun. I consider it important to read things that I find very hard to understand; in this case, a critique of philosophers that I mostly haven't read. I show more picked [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] off the library new acquisitions shelf, knowing nothing about it except that Adorno seems to be increasingly quoted as relevant to the present time. That was also my experience a decade ago when I read (and understood about a fifth of) [b:Minima Moralia: Reflections on a Damaged Life|201388|Minima Moralia Reflections on a Damaged Life|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388215583l/201388._SX50_.jpg|313155].
The first page of the introduction to [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] went down like a lead balloon. A major risk of reading any 19th or 20th century philosophy is that it will probably have a recently-written introduction with the density of cold cement. Sometimes this will take longer to get through than the book itself. My faith in the translator was also shaken by a footnote on page 6: 'To occur' our rendering of sich ereignen has been chosen for lack of an English verb corresponding to the noun 'event'. The verb is eventuate, my man! Despite these challenges, and Adorno's blithe assumption that the reader knows exactly who he is talking about when he critiques 'the authentic ones', persistence was rewarded. I appreciated what I could grasp. For example, on words and language:
First published in 1964, [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] is concerned not merely with philosophical abstractions but their uses in the destructive authoritarian German politics of the early twentieth century. Sometimes this is made explicit, but mostly it is heavily implicit:
Adorno complains that Heidegger and others present their philosophy of authenticity (his phrase) as authoritative and scientific, which conceals its ideological bias and cultural grounding. He sharply makes the point that there is really no such thing as pure, primal philosophy:
About twenty years ago I read a book about the slippery concept of authenticity, [b:Authenticity: Brands, Fakes, Spin and the Lust for Real Life|1667416|Authenticity Brands, Fakes, Spin and the Lust for Real Life|David Boyle|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1186591176l/1667416._SX50_.jpg|1662303], which gave an economic rather than philosophical critique. This is the closest I could find to an explanation of why Adorno attaches this label to the loose philosophical group he critiques:
In the final few pages, Adorno concludes that the jargon of authenticity is fundamentally inhumane and that, 'its dignified mannerism is a reactionary response to the secularisation of death'. I'll admit that I didn't understand all the nuances of his beef with Heidegger, Jaspers, et al. Yet [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] was still much more fun to read than [b:Ascension|61813107|Ascension|Nicholas Binge|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1675642495l/61813107._SX50_.jpg|93144065]. show less
The first page of the introduction to [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] went down like a lead balloon. A major risk of reading any 19th or 20th century philosophy is that it will probably have a recently-written introduction with the density of cold cement. Sometimes this will take longer to get through than the book itself. My faith in the translator was also shaken by a footnote on page 6: 'To occur' our rendering of sich ereignen has been chosen for lack of an English verb corresponding to the noun 'event'. The verb is eventuate, my man! Despite these challenges, and Adorno's blithe assumption that the reader knows exactly who he is talking about when he critiques 'the authentic ones', persistence was rewarded. I appreciated what I could grasp. For example, on words and language:
Words' own meanings weigh heavily on them. But these words do not use themselves up in their meanings; they themselves are caught up in their context. This fact is underestimated in the high praise given to science by every pure analysis of meaning, starting with Husserl's, especially by that of Heidegger, which considers itself far above science. Only that person satisfies the demand of language who masters the relation of language to individual words in their configurations. Just as the fixing of the pure element of meaning threatens to pass over to the arbitrary, so the belief in the primacy of the configurative threatens to pass into the badly functional, the merely communicative - into scorn for the objective aspect of words. In language that is worth something both of these elements are transmitted.
First published in 1964, [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] is concerned not merely with philosophical abstractions but their uses in the destructive authoritarian German politics of the early twentieth century. Sometimes this is made explicit, but mostly it is heavily implicit:
In the jargon, finally, there remains from inwardness only the most external aspect, that thinking oneself superior which marks people who elect themselves: the claim of people who consider themselves blessed simply by virtue of being what they are. Without any effort, this claim turns into an elitist claim, or into a readiness to attach itself to elites which then quickly gives the axe to inwardness. A symptom of the transformation of inwardness is the belief of innumerable people that they belong to an extraorinary family. The jargon of authenticity, which sells self-identity as something higher, projects the exchange formula onto that which imagines that it is not exchangeable; for as a biological individual each man resembles himself. That is what is left over after the removal of the soul and immortality from the immortal soul.
Adorno complains that Heidegger and others present their philosophy of authenticity (his phrase) as authoritative and scientific, which conceals its ideological bias and cultural grounding. He sharply makes the point that there is really no such thing as pure, primal philosophy:
This cannot be avoided and has to be taken into consciousness. In the universally mediated world everything experienced in primary terms is culturally performed. Whoever wants the other has to start with the immanence of culture, in order to break out through it. But fundamental ontology gladly spares itself that, by pretending it has a starting point somewhere outside. In that way such ontology succumbs to cultural mediations all the more; they recur as social aspects of the ontology's own purity. Philosophy involves itself all the more deeply in society as it more eagerly - reflecting upon itself - pushes off from society and its objective spirit.
About twenty years ago I read a book about the slippery concept of authenticity, [b:Authenticity: Brands, Fakes, Spin and the Lust for Real Life|1667416|Authenticity Brands, Fakes, Spin and the Lust for Real Life|David Boyle|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1186591176l/1667416._SX50_.jpg|1662303], which gave an economic rather than philosophical critique. This is the closest I could find to an explanation of why Adorno attaches this label to the loose philosophical group he critiques:
Thus industriousness is the substantivisation of those characteristics that apply to all industrious people, and which they have in common. By contrast, however, 'authenticity' names no authentic thing as a specific characteristic but remains formal, relative to a content which is by-passed in the word, if not indeed rejected by it - even when the word is used adjectivally. The word says nothing about what a thing is, but questions the extent to which the thing realises what is posited by its concept. The thing stands in implicit opposition to what it merely seems to be. In any case the word would receive its meaning from the quality which it is a predicate of. But the suffix '-keit', '-ness' tempts one to believe that the word must already contain that content in itself. The mere category of relationship is fished out and in its turn exhibited as something concrete.
In the final few pages, Adorno concludes that the jargon of authenticity is fundamentally inhumane and that, 'its dignified mannerism is a reactionary response to the secularisation of death'. I'll admit that I didn't understand all the nuances of his beef with Heidegger, Jaspers, et al. Yet [b:The Jargon of Authenticity|201397|The Jargon of Authenticity|Theodor W. Adorno|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1356446037l/201397._SY75_.jpg|1126042] was still much more fun to read than [b:Ascension|61813107|Ascension|Nicholas Binge|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1675642495l/61813107._SX50_.jpg|93144065]. show less
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