Autorka u clanku rekonstruise kompleksnu sliku Franca Suberta koju je stvorio Teodor Adorno u nekoliko osvrta na ovog kompozitora, a najvise u clanku?Subert? iz 1928. Adorno je te, 1928. godine doziveo Suberta kao tragicnog kompozitora cija muzika obitava u oblasti htonskih bogova, a da ipak otkriva radost?putujuceg naroda, opsenara i cudotvoraca?. Ipak, nije objasnio kako ova radost moze da prezivi u paklenim pejsazima Subertove htonske muzike. Tek kasnije Adorno je bio spreman da u Subertu prepozna, zahvaljujuci njegovom?habitusu?, i kafanskog sviraca, (...) ne pominjuci vise?putujuci narod, opsenare i cudotvorce?. Te dve predstave Suberta-Subert kao osluskivac htonskih bogova i Subert kao kafanski svirac-pokazale su se kao zanimljiv par vredan dalje teorijske elaboracije koju Adorno, nazalost, nikada nije sproveo. PR Projekat Ministarstva nauke Republike Srbije, br. 177019: Identiteti srpske muzike u svetskom kulturnom kontekstu. (shrink)

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany, intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, (...) fascinated by the?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it. Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis. (shrink)

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany, intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, (...) fascinated by the?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it. Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis. (shrink)

Beethoven is a classic study of the composer's music, written by one of the most important thinkers of our time. Throughout his life, Adorno wrote extensive notes, essay fragments and aides-memoires on the subject of Beethoven's music. This book brings together all of Beethoven's music in relation to the society in which he lived. Adorno identifies three periods in Beethoven's work, arguing that the thematic unity of the first and second periods begins to break down in the third. Adorno follows (...) this progressive disintegration of organic unity in the classical music of Beethoven and his contemporaries, linking it with the rationality and monopolistic nature of modern society. Beethoven will be welcomed by students and researchers in a wide range of disciplines - philosophy, sociology, music and history - and by anyone interested in the life of the composer. (shrink)

Der Briefwechsel zwischen Lotte Tobisch, Mitglied des Wiener Burgtheaters, und Theodor W. Adorno begann im September 1962 und setzte sich bis zum Tod des Philosophen 1969 fort; er umfaßt etwa 280 Briefe, Ansichtskarten und Telegramme. Der Briefwechsel ist das Dokument einer Freundschaft über die Generationen, über die sozialen Positionen, die Formen der Intellektualität und die Temperamente hinweg. Lotte Tobisch von Labotýn, ein Vierteljahrhundert jünger als der Philosoph, hatte den sozialen Hintergrund, den er schätzte: >nicht bürgerlich, vielmehr adelig, nonkonform, mit (...) der Gesellschaft auf ironische Distanz vertraut. Durch ihren verstorbenen langjährigen Gefährten, den um fast 40 Jahre älteren Chefdramaturgen des Burgtheaters Erhard Buschbeck, Trakls Jugendfreund, war sie zugleich indirekte Zeitgenossin des Wien nach der Jahrhundertwende - jener heroischen Zeit der großen musikalischen Revolution durch Schönberg und seine Schule, der sich Adorno als Komponist und Philosoph verbunden fühlte. Lotte Tobisch, bekannt als Schauspielerin und durch ihre literaturkritischen Beiträge, war auch mit Günter Anders, Gershom Scholem, Fritz Hochwälder, Carl Zuckmayer, Ludwig von Ficker, Elias Canetti, Richard Neutra und anderen Größen des geistigen Lebens verbunden und befreundet. Sie erschloß für Adorno eine Beziehung nicht nur zum zeitgenössischen Wien, sondern zugleich, und emotional bedeutsamer, zum Wien seiner Jugend und seiner musikalischen Lehrzeit. (shrink)

This chapter offers a close reading of a passage from the literary and philosophical work Minima Moralia that enacts Theodor W. Adorno's radical concept of nonpropositional truth content in philosophical aesthetics after Auschwitz. Readers of Adorno's texts, especially those devoted to philosophical aesthetics, can hardly fail to be struck by their chiastic structure. The aesthetic theory that Adorno develops constitutes not only a theory of the aesthetic but also a theory that is itself aesthetic, hence a theory of literature (...) that exhibits qualities associated with literary texts, and a theory of music that harbors within itself traces of musical composition. The rhetorically self-conscious tropes of his posthumous Aesthetic Theory, the stylized literary studies of his Notes to Literature, his musically inflected meditations on musicological questions from Ludwig van Beethoven to Arnold Schönberg, and so many of his other texts perform this provocative inversion in a variety of registers and conceptual modulations. (shrink)

Sguardo d'insieme -- Armonia delle sfere celesti : Hildegard von Bingen, symphonia -- Il tempo di Dio : Johann Sebastian Bach, Cantata Gottes Zeit -- Trasmutazioni : Wolfgang Amadeus Mozart, Die Zauberflöte -- "Questo bacio vada al mondo intero" : Ludwig van Beethoven, An die Freude -- Viaggio d'inverno : Franz Schubert, Winterreise -- Inni all notte : Richard Wagner, Tristan und Isolde -- L'ultimo rito : Richard Wagner, Parsifal -- Azzurre solitudini : Gustav Mahler, Terza sinfonia -- (...) Universi sonori : Gustav Mahler, Ottava sinfonia -- Orizzonti perduti : Gustav Mahler, Das Lied von der Erde -- Labirinti : Richard Strauss, Also sprach Zarathustra -- Cortei di ombre : Richard Strauss, Metamorphosen -- La terza via : Omaggio a Francesco d'Avalos. (shrink)

The medical biography of Ludwig van Beethoven remains enigmatic. Some of his health problems, such as his early and eventually profound deafness, are well documented and extensively discussed, although not necessarily well explained . Other medical problems, and his ultimate cause of death, remain unclear. Perhaps unsurprisingly for such an important musical figure, there has been no dearth of speculation about the illnesses that may have befallen Beethoven. Medical historians and physicians have suggested a myriad of illnesses, including but (...) hardly limited to .. (shrink)

Addressed here is the psychological complexity of meter, notated and heard, in The Firebird and Part II of The Rite of Spring. Of concern from the standpoint of the listener are the competing forces of meter, displacement, and parallelism; how these forces take precedence, with melody and harmony falling into place accordingly. Duly supplanted is the motivicism of the Classical style, as Theodor Adorno observed some time ago. Also of consequence here are octatonic harmony and the strict performance style (...) favored by the composer on a life-time basis. (shrink)

Cet article propose une analyse du livre sur Beethoven auquel, sans avoir eu le temps de l’achever, Adorno a travaillé durant plus de 30 ans. Longtemps attendue, la traduction française permet aujourd’hui de prendre pleinement la mesure de l’importance de ce volume, tour à tour atelier ou chambre d’écho de l’œuvre entière d’Adorno. Ligne de force de l’ouvrage, le rapprochement entre Beethoven et Hegel porte ainsi l’enjeu d’un rapport entre l’identité et la différence tel que l’altérité ne se laisse pas (...) absorber dans l’économie de la pensée spéculative. À cet égard, on a d’abord été attentif au fait que, pour Adorno, c’est dans la mesure même où la forme beethovénienne vise la constitution d’une « totalité intensive », qu’elle conduit à mettre au jour – au sein de l’apparence esthétique et par elle – le caractère arbitraire d’un tel primat accordé au tout. Si telle est la « teneur de vérité » de cette musique, on peut alors considérer que le « style tardif » de Beethoven (motif présent du premier au dernier des textes qu’Adorno a consacrés au compositeur) en constitue le plein déploiement, en tant que critique, immanente au matériau musical, de l’illusion du réconcilié. S’il est connu que, notamment, les derniers quatuors ou les dernières sonates sont exemplaires d’un tel geste, on a voulu montrer que celui-ci se trouvait à la fois dédoublé et altéré dans la composition de la Missa solemnis, qu’Adorno dit ne pas parvenir à comprendre. On soutient alors l’hypothèse suivante : exprimant de façon éminente une intempestivité qui traverse l’ensemble de l’œuvre beethovénienne, cette tension entre deux formes de distanciation, ou d’« estrangement » (Verfremdung), cristallise du même coup les exigences théoriques fondamentales de cette réforme de la dialectique qu’Adorno appelle dialectique négative et, indissociablement, celles de la conception d’une temporalité historique non linéaire et non téléologique. (shrink)

Theodor Adorno (1903-1969) was a cultural philosopher, sociologist, literary critic, and historian of music who, along with Max Horkheimer, Herbert Marcuse, and Erich Fromm, founded the Frankfurt School. Against Epistemology is one of his most important works.

These seventeen lectures given in 1963 focus largely on Kant, 'a thinker in whose work the question of morality is most sharply contrasted with other spheres of existence'. After discussing a number of the Kantian categories of moral philosophy, Adorno considers other, seemingly more immediate general problems, such as the nature of moral norms, the good life, and the relation of relativism and nihilism. In the course of the lectures, Adorno addresses a wide range of topics, including: theory and practice, (...) ethics as bad conscience, the repressive character, the problem of freedom, dialectics in Kant and Hegel, the nature of reason, the moral law as a given, psychoanalysis, the element of the Absurd, freedom and law, the Protestant tradition of morality, Hamlet, self-determination, phenomenology, the concept of the will, the idea of humanity, The Wild Duck, and Nietzsche's critique of morality. (shrink)

This volume makes available in English for the first time Adorno’s lectures on metaphysics. It provides a unique introduction not only to metaphysics but also to Adorno’s own intellectual standpoint, as developed in his major work Negative Dialectics. Metaphysics for Adorno is defined by a central tension between concepts and immediate facts. Adorno traces this dualism back to Aristotle, whom he sees as the founder of metaphysics. In Aristotle it appears as an unresolved tension between form and matter. This basic (...) split, in Adorno’s interpretation, runs right through the history of metaphysics. Perhaps not surprisingly, Adorno finds this tension resolved in the Hegelian dialectic. Underlying this dualism is a further dichotomy, which Adorno sees as essential to metaphysics: while it dissolves belief in transcendental worlds by thought, at the same time it seeks to rescue belief in a reality beyond the empirical, again by thought. It is to this profound ambiguity, for Adorno, that the metaphysical tradition owes its greatness. The major part of these lectures, given by Adorno late in his life, is devoted to a critical exposition of Aristotle’s thought, focusing on its central ambiguities. In the last lectures, Adorno’s attention switches to the question of the relevance of metaphysics today, particularly after the Holocaust. He finds in metaphysical experiences, which transcend rational discourse without lapsing into irrationalism, a last precarious refuge of the humane truth to which his own thought always aspired. This volume will be essential reading for anyone interested in Adorno’s work and will be a valuable text for students and scholars of philosophy and social theory. (shrink)

The most important aesthetics of the century, this is a long-awaited work, the culmination of a lifetime's investigation.

The correspondence between the philosopher Theodor W. Adorno and his politically active graduate student Elisabeth Lenk offers fresh insights into both Adorno's view of surrealism and its relation to the student uprisings of 1960s France and Germany. Written between 1962, when Lenk moved to Paris and persuaded an initially reluctant Adorno to supervise her sociology dissertation on the surrealists, and Adorno's death in 1969, these letters reveal a surprisingly tender side of the distinguished professor. The correspondence is accompanied by (...) a selection of documents that bring additional depth and context to the letters and their engagement with the art and politics of the period. Filling in the background of Adorno and Lenk's lively exchange, the volume includes new translations of classic essays by Walter Benjamin ("Surrealism: Last Snapshot of the European Intelligentsia") and Adorno ("Surrealism Reconsidered"), along with a collection of short prose readings by Adorno and the writer-scholar Carl Dreyfus and three original essays by Lenk: her afterword to Paris Peasant by Louis Aragon, her Introduction to the German edition of Charles Fourier's The Theory of the Four Movements and the General Destinies, and her incisive essay "Critical Theory and Surreal Practice." An Introduction by Lenk's student, the contemporary writer and critic Rita Bischof, points to the continuing challenge of surrealist politics. This remarkable body of correspondence appears here in English for the first time, as do Adorno and Dreyfus's surrealist readings and the essays by Lenk. Together, they provide a rich mine of critical material for reassessing the significance of the surrealist movement and its successors. (shrink)

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology of musical theater, performance hermeneutics, and (...) the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

Noch während des Zweiten Weltkriegs in den Vereinigten Staaten entstanden, 1947 als Buch erschienen, mit der Neuausgabe von 1969 endgültig zum einflussreichsten Werk der ”Frankfurter Schule“ geworden: eine Sonderausgabe zum hundertsten Geburtstag Theodor W. Adornos am 11. September 2003.

In einem Brief nennt Adorno die "Negative Dialektik" kurz nach ihrem Erscheinen unter seinen Schriften "das philosophische Hauptwerk, wenn ich so sagen darf“. Dieser herausgehobenen Bedeutung, die das Werk für Adorno hatte, entspricht nicht nur die lange Zeit, die er mit der Abfassung des Buchs beschäftigt war, sondern auch die lange Geschichte, die ihre zentralen Motive in seinem Denken haben. Philosophische Begriffsklärung, die Arbeit an "Begriff und Kategorien“ einer negativen Dialektik, versteht Adorno dabei als dialektischen Übergang in inhaltliches Denken – (...) und so betreibt er sie auch hier. Das hat Konsequenzen für die Form des kooperativen Kommentars, der in diesem Band versucht wird. Adornos "Negative Dialektik" zu kommentieren, kann nur in dem Bewußtsein der unüberbrückbaren Kluft gelingen, die den Kommentar von diesem Text trennt. (shrink)

The following is the transcript of a lecture taken in shorthand by Hans-Georg Backhaus. The transcript was originally published as an appendix in Hans-Georg Backhaus, Dialektik der Wertform. Untersuchungen zur marxschen Ökonomiekritik, a complete translation of which is forthcoming in the Historical Materialism book series.

The Ukrainian translation of the work of the German neo-Marxist philosopher Theodor Adorno "Education after Auschwitz" is dedicated to the 75th anniversary of the liberation of prisoners of the Nazi concentration camp Auschwitz. In this work, which Theodor Adorno read as a report on Hesse Radio on April 18, 1966, the previous theme of special importance – the cultivation of a new, anti-ideological education in post-totalitarian society as a means of humanistic educational influence on this society – was (...) continued. Adorno suggested that his listeners see as a humanistic need for a post-totalitarian society to spread in its cultural space through the education the each person's understanding of own guilt for the Auschwitz tragedy. According to the philosopher, in this way, it is possible to restore the civilization of the coexistence of man and society, and it will make it impossible to repeat the horrors of the Auschwitz concentration camp. Another factor that should prevent the return of Auschwitz crimes, Adorno called the presence of knowledge about the genesis of an authoritarian character, which is the socio-psychological cause of the suffering of innocent people. Having considered the socio-cultural and anthropological factors of the emergence of an authoritarian character, Adorno identified the undoubted psychological dependence of the bearers of a manipulative character on the authoritarian government. The origins of the authoritarian government German philosopher found in the current state of European culture as one that has lost the spiritual energy needed for its own transformation. In accordance with his basic philosophical and educational beliefs, Adorno postulated the new education as an anti-ideological enlightenment, as knowledge that educates primarily politically aware young citizens, as an effective means of preventing the return of authoritarian government and, consequently, the repetition of Auschwitz. (shrink)

Written after his return to Germany in 1949, the articles, essays, and radio talks included in this volume speak to the pressing political, cultural, and ...

Adorno's efforts to salvage the contemporaneity of Hegel's thought form part of his response to the increasingly tight net of social control in the aftermath of ...

The work "Taboos on the teaching vocation" was read by the German social philosopher and representative of critical theory Theodor Adorno as a report on May 21, 1965 at the Berlin Institute for Educational Research. In this report, Adorno considered the socio-psychological and socio-cultural reasons that in the context of Western European culture have historically led to the social emergence of many psychological taboos on the pedagogical work of the school teacher. The philosopher theoretically deduced the dialectical connection between (...) human hostility and disgust for the work of the teacher from the cultural tradition of German society, which historically developed as late bourgeois. A characteristic feature of the attitude of the overly materialistic socio-cultural system was aversion to the work of the teacher as a "hungry job", that is, to a poorly paid profession. Another factor of public disgust for the work of teachers, the philosopher called the socio-cultural tradition of society, which as a closed society willingly practiced physical violence as a means of social coercion. According to this tradition, through the use of violence, the teacher must subordinate students to his authority, subordinate to social and school ideology. The historical result of such dialectics was the socio-cultural distortion of the image of the teacher, the castration of his image in social psychology, his self-alienation from the professional vocation and the ideological elimination of the power of his spirit. As an ideological alternative, Adorno suggested that society, if it consciously seeks democratic change, first of all take into account such young teachers who demonstrate the impulse of their individual spirit in the performance of their profession. According to the philosopher, only the spiritual freedom of such a young educator, a man who is capable of self-understanding, conscious of himself and his vocation, who reflects and is socially active, can democratize schools, devalue society and destroy dehumanized social traditions. First of all – in order to overcome the barbaric tradition of violence. (shrink)

Notes to Literature is a collection of the great social theorist Theodor W. Adorno’s essays on such writers as Mann, Bloch, Hölderlin, Siegfried Kracauer, Goethe, Benjamin, and Stefan George. It also includes his reflections on a variety of subjects, such as literary titles, the physical qualities of books, political commitment in literature, the light-hearted and the serious in art, and the use of foreign words in writing. This edition presents this classic work in full in a single volume, with (...) a new introduction by Paul Kottman. (shrink)

Allow me to preface my remarks today by saying that I am not going to give a lecture in the usual sense of communicating results or presenting a systematic statement. Rather, what I have to say will remain on the level of an essay; it is no more than an attempt to take up and further develop the problems of the so-called Frankfurt discussion. I recognize that many uncomplimentary things have been said about this discussion, but I am equally aware (...) that it approaches the problem correctly and that it would be wrong always to begin again at the beginning. (shrink)