Adorno's philosophical writings on music are notably focused on the new, invested in positioning the challenging avant‐garde works of Schoenberg, Berg, and Webern as the modernist mainstream. Nevertheless, Adorno's relationship with this “Second Viennese School” of composers was characterized by ongoing complexities, contradictions, and dissonances. His conflicted position is theorized here on multiple levels, considering not only Adorno's mature philosophy of the New Music, but his own musical‐creative output, and his relationships with the members of the Second (...) class='Hi'>Viennese School; a group he was intimately connected to and distinct from at once. As his composition teacher, Berg was particularly influential in shaping Adorno's compositional activity and stance as simultaneously a champion and critic of Schoenberg. Adorno attempted to apply Schoenberg's twelve‐tone technique within his own compositions, recognizing its promise, yet from early on he had growing critical and compositional reservations concerning the method's restrictions. Though Adorno's writings from the 1930s defend Schoenberg and the twelve‐tone technique, by the end of the following decade, his Philosophy of New Music (2006 [1949]) expounds his critique of the method for its eschewal of the freedom of Expressionism. The impact of the Philosophy of New Music in the wake of the Second World War was both greater than and different from what Adorno could have expected. His message that the twelve‐tone method came at the cost of expressivity was largely missed by the subsequent generation of avant‐garde composers, the “Darmstadt School,” who understood the book as philosophical and theoretical basis for their extended exploration of music's serial systematization. (shrink)

Simon Szántó is known as one of the founders of the Jewish press in Vienna, the editor and main author of the Jewish periodical Die Neuzeit, and an influential educator during the high point of Austrian liberalism between the 1860s and the early 1880s. His enormously rich literary legacy covers issues such as the integration of Jews into the Austrian-Hungarian society, religious reform, gender roles, and particularly education. Szántó’s writings offer a unique opportunity to look at the Viennese liberal (...) period of the second half of the nineteenth century and its challenges through the eyes of a mostly overlooked, but highly significant and influential actor of the time. This article will first introduce Simon Szántó’s cultural and educational background that impacted his ideals and his activities, and go on to discuss one of his main concerns, namely Jewish education. Religious education, confessional schooling, and Jewish upbringing at home bore the burden of responsibility for shaping Austrian Jewish women and men. These Jews were to be integrated in an Austrian culture, while at the same time taught to retain a strong Jewish particularity. Szántó aimed to unite this dichotomous reality through the realization of his ideals of Jewish Bildung. (shrink)

Logical empiricism and the Austrian School of economics are two of the internationally most influential intellectual movements with Viennese roots. By and large independently of each other, both have been subject to detailed historical and philosophical investigations for the last two dec-ades. However, in spite of numerous connections and interactions be-tween the two groups, their relationship has captured surprisingly sparse attention. My dissertation focuses on the many-faceted juxtaposition of two supposedly antagonistic championsof Viennese Late Enlightenment: logical empiricist (...) Otto Neurath and Austrian economist Ludwig Mises. I rationally reconstruct and critically compare their epistemological, meth-odological, and economic positions and demonstrate that a closer look reveals more compatibilities and similarities than acknowledged by the received view and by the protagonists themselves. Over and above the historiographic task of challenging and amending this received view, the analytic components of my thesis inform contemporary debates in phi-losophy, politics, economics, and other sciences. (shrink)

Maria Kokoszyńska-Lutmanowa was one of the most outstanding female representatives of the Lvov-Warsaw School. After achieving her PhD in philosophy under Kazimierz Twardowski’s supervision, she was Kazimierz Ajdukiewicz’s assistant. She was also influenced by Alfred Tarski whose results in semantics she analyzed and popularized. After World War II, she got the chair of logic in University of Wrocław and she organized studies in logic in this academic center. In the 1930s, Kokoszyńska kept in contact with members of the Vienna (...) Circle and became a kind of connecting factor between Polish logicians and the Viennese group. In Poland, she presented the views of members of the Vienna Circle. In Vienna, she emphasized the results of her Polish colleagues. In the present paper, some of Kokoszyńska’s results connected with the matters discussed in the Vienna Circle are presented, namely with the problem of metaphysics, the status of logic and the idea of unity of science. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the (...) entire range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

Form of Thought and Presentational Gesture in Karl Popper and E. H. Gombrich The paper deals with common elements and differences in Popper and Gombrich, especially concerning their forms of thought and presentational gesture. Among others it considers the model of common sense which was basal for both of them as well as the similarities of searchlight theory (Popper) and some postulates of Gestalt psychology (Gombrich). At the end it analyses their approaches to historiography with special focusing on Gombrich's comments (...) on the concept of social history of art. (shrink)

This is the first comprehensive overview of the influence of Platonism on the English literary tradition, showing how English writers, including Chaucer, Shakespeare, Milton, Blake, Wordsworth, Yeats, Pound and Iris Murdoch, used Platonic themes and images within their own imaginative work.

Congress's national-security legislation will often require clear and specific congressional authorization before the executive can undertake certain actions. The War Powers Resolution, for example, prohibits any law from authorizing military hostilities unless it "specifically authorizes" them. And the Foreign Intelligence Surveillance Act of 1978 required laws to amend FISA or repeal its "exclusive means" provision before they could authorize warrantless electronic surveillance. But efforts to legislate clear-statement regimes in national-security law have failed to induce compliance. The Clinton Administration inferred congressional (...) "authorization" for the 1999 Kosovo War from an appropriations statute that failed to specifically authorize the conflict. And the Bush Administration inferred congressional "authorization" for the NSA surveillance program from ambiguous language in the post-September 11th Authorization to Use Military Force. In both situations, executive-branch lawyers employed expansive theories of implied repeal and constitutional avoidance to evade the codified clear-statement requirements, and Congress and the courts acquiesced to the President's actions. Recent proposals to strengthen the clear-statement requirements in Congress's national-security framework legislation are unlikely to be effective without institutional mechanisms, such as points of order, that can deter future legislators from enacting vague or ambiguous legislation from which the executive might claim implicit congressional "authorization," and that can induce Congress to confront Presidents that act without specific congressional authorization. Simply enacting more narrow or explicit clear-statement requirements, or adding funding restrictions to Congress's framework legislation, fails to counter the aggressive interpretive doctrines that executives of both political parties have used to concoct congressional "authorization" from vague or ambiguous statutory language. (shrink)

This paper challenges the first Gettier counterexample to the tripartite account of knowledge. Noting that 'the man who will get the job' is a description and invoking Donnellan's distinction between their 'referential' and 'attributive' uses, I argue that Smith does not actually believe that the man who will get the job has ten coins in his pocket. Smith's ignorance about who will get the job shows that the belief cannot be understood referentially, his ignorance of the coins in his pocket (...) shows that it cannot be understood attributively. An explanation for why Smith appeared to have justified true belief is given by distinguishing between 'belief' and 'belief in truth'. Smith believes the sentence 'the man who will get the job has ten coins in his pocket' to be true (he mistakenly believes that Jones will get the job, of whom he knows that he has ten coins in his pocket) (hence his 'belief'), the sentence is true (hence 'truth'), and he has sufficient reason to assent to it (hence his 'justification'). But he does not believe the proposition expressed. Hence he does not know it either. (shrink)

This is not a work of mine. For some reason, I am unable to remove it from my page. It is a list of Dr. Reiner Schürmann's lecture notes for courses that he taught at the New School for Social Research (aka The New School).

Previous chapter In 1910, Hans Hermann Russack, one of August Schmarsow's students in Leipzig, published an essay entitled Der Begriff des Rhythmus bei den deutschen Kunsthistorikern des XIX. Jahrhunderts – The Concept of Rhythm in the German Art Historians of the 19th Century. This study was far from complete: it barely mentioned Aloïs Riegl and the competitors of the Viennese school; it referred only indirectly to Wilhelm Pinder and gave - Architecture – Nouvel article.

Even though the past few years have witnessed an increased interest in Emilio Betti’s thought, there are still important aspects of his work that need to be investigated, including his hermeneutics of art. Brief references to it have been made, but there have been only tentative attempts to identify a comprehensive aesthetic approach in Betti’s work. Of great relevance in this context is the one text where Betti’s hermeneutics has been interpellated in relation to historic and artistic interpretation, that is, (...) a 1965 essay by Hans Sedlmayr, the renowned art historian of the “New Viennese School.” In the vast corpus of Sedlmayr’s works, this is the only text where Betti is mentioned. However, in this essay the references to the theory of the Italian jurist and philosopher are so numerous as to reveal him to be Sedlmayr’s privileged interlocutor. Betti, too, was an attentive reader of Sedlmayr. He even includes the Austrian scholar among the thinkers who were for him a “source of productive inspiration.” The profound impact of this inspiration may be gauged most particularly in Betti’s reflections on modern art in his General Theory of Interpretation. The present volume focuses on the long-distance dialogue that Betti and Sedlmayr established independently from each other, a dialogue that has previously gone unnoticed. The author, Luca Vargiu ([email protected]), reconstructs this dual, reciprocal reading, reevaluating the contributions of Betti and Sedlmayr to the lively debates in the field of art historical-hermeneutics. (shrink)

Although Theodor W. Adorno is best known for his association with the Frankfurt School of Critical Theory, he began his career as a composer and successful music critic. _Night Music_ presents the first complete English translations of two collections of texts compiled by German philosopher and musicologist Adorno—_Moments musicaux_, containing essays written between 1928 and 1962, and _Theory of New Music_, a group of texts written between 1929 and 1955. In _Moments musicaux_, Adorno echoes Schubert’s eponymous cycle, with its (...) emphasis on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno’s aim to apply high philosophical standards to the study of music. _Theory of New Music_, as its title indicates, presents Adorno’s thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in _Night Music _show the breadth of Adorno’s musical understanding and reveal an overlooked side to this significant thinker. (shrink)

This chapter reconstructs Adorno's practices of listening to music through the prism of two categories: exact listening and inconsistent listening. Exact listening depends upon a distinct kind of intellectual confidence about the capacity for an intellectual to listen to and comprehend the forms of a given work. This practice entails his well‐known writings on the resistant powers of fractured forms in late Beethoven and the Second Viennese School; as well as his critiques of Wagner, Stravinsky, jazz, popular music, (...) and the culture industry. By contrast, inconsistent listening, found particularly in Adorno's writings on Mahler and Berg, acknowledges a significant measure of uncertainty as to what forms constitute a locus of social resistance. In these writings, Adorno shows readers more explicitly what it means to grapple with music's ineffability through his use of parataxis, extra‐musical hallucinations, and contradictory or paradoxical assertions. The chapter frames its reconstruction of Adorno's dual listening practices by delineating the philosophical importance of music's ineffability for Adorno's negative conception of utopian truth‐content. (shrink)

RESUMENEl artículo se propone registrar los puntos principales de la controvertida relación que Theodor Adorno mantuvo, entre 1950 y 1966, con los jóvenes músicos reunidos en torno a los Cursos Internacionales para la Nueva Música realizados en Darmstadt. Se expondrá el modo en que en la música serial, a pesar de su progresismo, que el filósofo medía por el trato con la modernidad radical representada por la escuela vienesa de Schönberg, resonaban elementos que neutralizaban las fuerzas productivas de la nueva (...) música. Al final se elucidará la justificación política que acompañaba a los síntomas estéticos de envejecimiento que Adorno atribuía al círculo de compositores de postguerra.PALABRAS CLAVEADORNO, ESTÉTICA NEGATIVA, RACIONALIZACIÓN, ARTE AUTÓNOMO,MÚSICA SERIALABSTRACTThe paper proposes to record the main points of the controversial relationship Theodor Adorno held, between 1950 and 1966, with the young musicians gathered around the International Courses for the New Music performed in Darmstadt. Here is presented the way in which in serial music, despite its progressivism, which the philosopher measured in the treatment with the radical modernity represented by the Viennese School of Schönberg, resounded elements that neutralized the productive forces of the new music. Finally, I intend to elucidate the political justification that accompanied the aesthetics symptoms of aging that Adorno attributed to the circle of post-war composers.KEYWORDSADORNO, NEGATIVE AESTHETICS, RATIONALIZATION, AUTONOMOUS ART, SERIAL MUSIC. (shrink)

Die Anzahl von bildlichen Darstellungen musizierender Grotesken ist in jeder Epoche erstaunlich hoch.

Carl Mengers Grundsätze der Volkswirthschaftslehre erscheinen 1871 und markieren die Geburtsstunde der Österreichischen Schule der Nationalökonomie. 150 Jahre später kennen mehr Menschen in mehr Ländern die Österreichische Schule als je zuvor. -/- Carl Menger, Ludwig Mises und Friedrich Hayek werden verteufelt oder wie Popstars verehrt. Ihre Köpfe zieren Poster und T-Shirts in aller Welt. -/- Die Wurzeln der heutigen Neo-Austrian School liegen aber in Wien, wo zwischen 1871 und 1934 Wissenschaft, Philosophie, Kunst und Kaffeehauskultur einander zu Höchstleistungen inspirieren. Von (...) diesen interdisziplinären und vielfältigen Wiener Ursprüngen und ihren globalen Folgen handelt dieses Buch. -/- Möge es als Fußnote zur glorreichen Wiener Spätaufklärung Wissen vermitteln, Ideen stiften, zum Nachdenken und tolerant-kritischen Diskutieren anregen – und hoffentlich auch ein wenig unterhalten! (shrink)

Viennese Brain Research and the Formation of Austrian Positivism. In this paper, I want to argue that the Vienna School of Medicine and especially the Viennese Brain Anatomy had an impact on the formation of the Austrian positivism. I argue that Carl von Rokitansky's (1804–1878) doctrine that psychological phenomena must be translated into anatomical facts and Theodor Meynert's (1833–1892) theory of brain functions served as one basis for the formation of the Austrian positivism. In this sense, two (...) of the main early positivistic thinkers, Ernst Mach (1838–1916) and Richard Wahle (1857–1935), used Meynert's brain theory to argue for a bundle view of the Self. Friedrich Jodl (1849–1914) also thought about his theory, and even Moritz Schlick (1882–1936) who demanded a ‘reduction of the psychology to the brain physiology’ grappled with this approach. Meynert, a scholar of Rokitansky, the founder of the Vienna School of Medicine, was a leading figure in the history of neurology and has made several significant contributions to this discipline. He argues that the Self does not exist from an anatomical point of view. As Richard Wahle tells us, Meynert's theory of the brain functions was widely accepted under the brain researchers by the end of the nineteenth century and at the beginning of the twentieth century. He makes clear that brain researchers did in common refer to Meynert's theory to explain psychical functions as brain functions. He says from their point of view there was no doubt about it. Mach talks about Meynert's theory in Erkenntnis und Irrtum. There he says that Meynert's brain theory explains the nature and conditions of the consciousness. Michael Hagner argues that Mach's “Das Ich ist unrettbar” is hardly imaginable without the cerebral embedding of the mental functions. (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of Nestroy. (...) Their game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

Edgar Wood and Middleton are closely entwined. Until his fifties, Wood engaged in the life of his native town, while his architecture gradually enriched its heritage. The paper begins with Woods character and gives an insight into his wider modus operandi with regard to fellow practitioners. A stylistic appraisal of his surviving Middleton area buildings draws attention to his individual development of Arts and Crafts architecture, a pinnacle of which was Long Street Methodist Church and Schools. The impact of J. (...) Henry Sellers is examined, and the emergence of their subsequent modernism is traced through a number of pioneering designs. Stylistic connections with Charles Rennie Mackintosh of Glasgow and the Viennese architect Josef Hoffmann imply that Woods experiments were sometimes part of a wider stylistic development. Finally, a small cluster of Middleton houses summarizes Woods architectural journey, illustrating his incremental transition from Arts and Crafts to early Modern Movement architecture. (shrink)