Abstract

Martin Jay is well aware of the pitfalls involved in contributing a volume on Adorno to the “Modern Masters” series. “Adorno, let it be admitted at the outset, would have been appalled at a book of this kind devoted to him,” is the sentence with which the book begins. Indeed, for Adorno, who strove concertedly to resist easy consumption in the bourgeois marketplace of ideas, such canonization would have been simply anathema. At the outset of his portrait Jay offers several reasons why, despite the misgivings that could be anticipated from his subject, an accessible, summarizing account of a philosophical approach notorious for its hermeticism would still be warranted. The first reason pertains to the (by now hackneyed) hiatus between authorial intention and reception of a work