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Theodor W. Adorno (1903–1969)

Author of Dialectic of Enlightenment

323+ Works 14,134 Members 85 Reviews 35 Favorited

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

Dialectic of Enlightenment (1947) 2,453 copies, 21 reviews
Minima Moralia: Reflections on a Damaged Life (1951) 1,970 copies, 8 reviews
Aesthetic Theory (1970) — Author — 1,017 copies, 5 reviews
Aesthetics and Politics (2007) 761 copies, 2 reviews
Negative Dialectics (1966) 567 copies, 4 reviews
The Authoritarian Personality (1950) 385 copies, 2 reviews
Philosophy Of New Music (1949) 347 copies, 2 reviews
The Jargon of Authenticity (1964) 313 copies, 2 reviews
In Search of Wagner (1952) 199 copies, 3 reviews
Essays on Music (2002) 174 copies, 1 review
Hegel: Three Studies (1963) 171 copies
Towards a New Manifesto (1956) 155 copies, 2 reviews
Aspekte des neuen Rechtsradikalismus: Ein Vortrag (2019) — Author — 122 copies, 2 reviews
Notes to Literature (1974) 119 copies
Introduction to Sociology (1968) 83 copies
Educação e Emancipação (1971) 81 copies
Beethoven: The Philosophy of Music (1993) 77 copies, 1 review
Dream Notes (2005) 68 copies, 1 review
An Introduction to Dialectics (2010) 62 copies, 1 review
The Adorno Reader (2000) 53 copies
Correspondence 1943-1955 (2003) 51 copies
Sur Walter Benjamin (1990) 42 copies
Aesthetics (2017) 37 copies
Sound Figures (1999) 37 copies
Notas De Literatura I (1958) 35 copies, 2 reviews
Correspondence 1925-1935 (1997) 29 copies
Adorno (1999) 29 copies, 1 review
Without Model: Parva Aesthetica (1967) 28 copies, 1 review
Actualidad de la filosofía (1901) 26 copies
Current of Music (2006) 26 copies
Terminologia filosofica (1987) 23 copies
Soziologische Schriften I (1979) 20 copies
Correspondence: 1923 - 1966 (1994) 19 copies
Theorie der Halbbildung (2006) 16 copies
Impromptus (1968) 13 copies, 1 review
Järjen kritiikki (1991) 12 copies
Noten zur Literatur III (1965) 11 copies
Edebiyat Yazilari (2004) 11 copies
Il fido maestro sostituto (1982) 9 copies
Moments musicaux (2003) 9 copies
Noten zur Literatur II (1961) 9 copies
Lectures 1949-1968 (2024) 8 copies
Esthétique 1958/59 (2013) 8 copies
L'Art et les arts (1990) 7 copies
Sociologia (1986) 7 copies
Valik esseid kirjandusest (2019) 7 copies
Consignas (Spanish Edition) (1993) 6 copies, 1 review
Noten zur Literatur IV. (1988) 6 copies
Wagner Mahler (1900) 6 copies
Miscelanea I (2010) 6 copies
Musikkfilosofi (2003) 5 copies
Essays i utvalg (1976) 5 copies
Notes sur Beckett (2008) 5 copies
Kindheit in Amorbach (2003) 5 copies
Marx vivo: la presenza di Karl Marx nel pensiero contemporaneo (1969) — Contributor — 4 copies, 1 review
Gesammelte Schriften (1996) 4 copies
Il concetto di filosofia (1999) 4 copies
Musikalische Schriften V. (2003) 4 copies
Beaux passages (2013) 3 copies
The Essay as Form (2004) 3 copies
Sulla popular music (2004) 3 copies
Filozofia nowej muzyki (2021) 2 copies
Filosofía y sociología (2015) 2 copies
Adorno (2001) 2 copies
Ausgewählte Werke (2015) 2 copies
Freud En La Actualidad (1971) 2 copies
Son Deha (2012) 2 copies
Filosofi tedeschi d'oggi — Author — 1 copy
Free Time 1 copy
Drömdagbok 1 copy
Napoli (2000) 1 copy

Associated Works

The Theory of the Leisure Class (1899) — Afterword, some editions — 2,521 copies, 25 reviews
Literary Theory: An Anthology (1998) — Contributor, some editions — 741 copies, 1 review
The Philosopher's Handbook: Essential Readings from Plato to Kant (2000) — Contributor — 234 copies, 1 review
Mapping Ideology (1994) — Contributor — 225 copies
Cultural Resistance Reader (2002) — Contributor — 153 copies
English National Opera Guide : Berg : Wozzeck (1996) — Contributor — 46 copies
Lapham's Quarterly - Lines of Work: Volume IV, Number 2, Spring 2011 (2011) — Contributor — 32 copies, 2 reviews
German Essays on Music (1994) — Contributor — 20 copies, 1 review
Wozzeck [Staatsoper Unter den Linden, 14-XII-2025] (2011) — Contributor — 1 copy
Gerhard Hoehme, Bilder 1 copy, 1 review

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Note from a German philosopher in Pro and Con (September 2013)
Th. W. Adorno in Philosophy and Theory (July 2008)

Reviews

97 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
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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
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.
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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:

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].
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Associated Authors

Fredric Jameson Afterword
Max Horkheimer Contributor
Jürgen Habermas Contributor
Erich Fromm Contributor
V. I. Činkaruk Contributor
György Markus Contributor
Jindrich Zeleny Contributor
Timur Timofeev Contributor
Michal Kalecki Contributor
Cesare Luporini Contributor
Y. A. Zamochkin Contributor
Alfred Sauvy Contributor
T. I. Ojzerman Contributor
Shigeto Tsuru Contributor
Mihailo Marković Contributor
Abdallah Laroui Contributor
A. Mileikovsky Contributor
Andras Hegedüs Contributor
Eric J. Hobsbawn Contributor
A. M. Rumianzev Contributor
Jurgen Kuczynski Contributor
Evgueni Kamenov Contributor
V.A. Vinogradov Contributor
H. M. A. Onitiri Contributor
A. K. DasGupta Contributor
Costin Murgescu Contributor
szigetijozsef Contributor
Robert C. Tuscker Contributor
Ignacy Sachs Contributor
Jean Hippolite Contributor
Maxime Rodinson Contributor
Charles Frankel Contributor
Roger Garaudy Contributor
Celso Furtado Contributor
Ágnes Heller Contributor
Anatol Rapoport Contributor
Joan Robinson Contributor
Adam Schaff Contributor
Anouar Abdel-Malek Contributor
Zygmunt Bauman Contributor
Raymond Aron Contributor
Franco Ferrarotti Contributor
Friedrich Engels Contributor
Felice Battaglia Introduction
Ronald David Laing Contributor
Sigmund Freud Contributor
Aaron Esterson Contributor
Lu Hsun Contributor
Rolf Tiedemann Editor and Introduction
Jesús Aguirre Translator
Slavoj Žižek Introduction
Edmund Jephcott Translator
Ivars Ījabs Translator
Reni Hinsch Cover designer
Jan Buchholz Cover designer
John Cumming Translator
Gretel Adorno Herausgeber
Clare Turner Cover designer
Dennis Redmond Translator
E. B. Ashton Translator
Neil Donnelly Cover designer
Wieland Hoban Translator
Volker Weiß Afterword
León Mames Translator
Fernando Montes Translator
Gerard Vilar Roca Introduction
baffielena Translator

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Works
323
Also by
12
Members
14,134
Popularity
#1,629
Rating
3.9
Reviews
85
ISBNs
928
Languages
26
Favorited
35

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