A reply to contemporary skepticism about intuitions and a priori knowledge, and a defense of neo-rationalism from a contemporary Kantian standpoint, focusing on the theory of rational intuitions and on solving the two core problems of justifying and explaining them.

_Critical Models_ combines into a single volume two of Adorno's most important postwar works -- _Interventions: Nine Critical Models_ and _Catchwords: Critical Models II_. 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 philosophical concerns of the postwar era. The pieces in _Critical Models_ reflect the intellectually provocative as well as the practical Adorno as he addresses such issues as the dangers of ideological conformity, (...) the fragility of democracy, educational reform, the influence of television and radio, and the aftermath of fascism. This new edition includes an introduction by Lydia Goehr, a renowned scholar in philosophy, aesthetic theory, and musicology. Goehr illuminates Adorno's ideas as well as the intellectual, historical, and critical contexts that shaped his postwar thinking. (shrink)

Der Band geht zurück auf die Tagung „Der aufrechte Gang im windschiefen Kapitalismus“, die im Januar 2016 in Weimar stattgefunden hat. Ihr Ziel war es, unterschiedliche Traditionen zusammenzuführen, Modelle kritischen Denkens zu vergegenwärtigen und neue Perspektiven der Gesellschaftstheorie zu eröffnen. Die Beiträge widmen sich der Standortbestimmung kritischer Theorien. Sie reflektieren auf ihre Ursprünge, loten ihr zeitdiagnostisches Potential aus und dokumentieren ihren interdisziplinären Charakter. Der „aufrechte Gang“ im Denken bedeutet, sich von der Übermacht des Bestehenden nicht einschüchtern zu lassen, konformistischer Akzeptanz (...) wie irrationaler Sinngebung zu widerstehen und die Möglichkeit des Neuen, die Utopie, wach zu halten. (shrink)

This essay first contextualizes Adorno's essays in literary criticism in relation to his historico‐philosophical account of modern rationalization and late capitalism, his dialectical theory of culture, and his return to postwar Germany. It then presents the neo‐Marxist and formalist principles that inform his literary criticism, emphasizing the artwork's critical relationship to society, on the one hand, and the theory of aesthetic experience undergone by the artwork's recipient on the other. These principles are exemplified in selective readings of Adorno's essays on (...) Heinrich Heine and Friedrich Hölderlin. The essay concludes by polemically juxtaposing Adorno's practice of literary criticism with that of neo‐Aristotelian “ethical criticism.”. (shrink)