Theodor Adorno 1st Edition Ross Wilson Available All Format
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THEODOR ADORNO
The range of Theodor Adorno’s achievement and the depth of his insights are
breathtaking and daunting. His work on literary, artistic and musical forms,
his devastating indictment of modern industrial society, and his profound
grasp of Western culture from Homer to Hollywood have made him one of
the most significant figures in twentieth-century thought.
As one of the main philosophers of the Frankfurt School of Critical Theory,
Adorno’s influence on literary theory, cultural studies and philosophical
aesthetics has been immense. His wide-ranging authorship is significant also
to continental philosophy, political theory, art criticism and musicology. Key
ideas discussed in this guide include:
This Routledge Critical Thinkers guide will equip readers with the tools required
to interpret critically Adorno’s major works, while also introducing them to
his interpretation of classical German philosophy and his relationship to the
most significant of his contemporaries.
Ross Wilson
First published 2007
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
270 Madison Ave, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group, an informa business
“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”
WHY ADORNO? 1
KEY IDEAS 9
1 Disaster triumphant 11
2 Fun 27
3 Art 43
4 Things, thought and being right 59
5 Life does not live 77
6 Philosophy, still 93
The books in this series offer introductions to major critical thinkers who
have influenced literary studies and the humanities. The Routledge Critical
Thinkers series provides the books you can turn to first when a new name or
concept appears in your studies.
Each book will equip you to approach a key thinker’s original texts by
explaining her or his key ideas, putting them into context and, perhaps most
importantly, showing you why this thinker is considered to be significant. The
emphasis is on concise, clearly written guides which do not presuppose a
specialist knowledge. Although the focus is on particular figures, the series
stresses that no critical thinker ever existed in a vacuum but, instead,
emerged from a broader intellectual, cultural and social history. Finally, these
books will act as a bridge between you and the thinker’s original texts: not
replacing them but rather complementing what she or he wrote.
These books are necessary for a number of reasons. In his 1997 auto-
biography, Not Entitled, the literary critic Frank Kermode wrote of a time in
the 1960s:
On beautiful summer lawns, young people lay together all night, recovering
from their daytime exertions and listening to a troupe of Balinese musicians.
Under their blankets or their sleeping bags, they would chat drowsily about
the gurus of the time . . . What they repeated was largely hearsay; hence
my lunchtime suggestion, quite impromptu, for a series of short, very
viii S E R I E S E D I T O R ’ S P R E F A C E
There is still a need for ‘authoritative and intelligible introductions’. But this
series reflects a different world from the 1960s. New thinkers have emerged
and the reputations of others have risen and fallen, as new research has
developed. New methodologies and challenging ideas have spread through
the arts and humanities. The study of literature is no longer – if it ever was
– simply the study and evaluation of poems, novels and plays. It is also the
study of the ideas, issues, and difficulties which arise in any literary text and
in its interpretation. Other arts and humanities subjects have changed in
analogous ways.
With these changes, new problems have emerged. The ideas and issues
behind these radical changes in the humanities are often presented without
reference to wider contexts or as theories which you can simply ‘add on’ to
the texts you read. Certainly, there’s nothing wrong with picking out selected
ideas or using what comes to hand – indeed, some thinkers have argued that
this is, in fact, all we can do. However, it is sometimes forgotten that each
new idea comes from the pattern and development of somebody’s thought
and it is important to study the range and context of their ideas. Against
theories ‘floating in space’, the Routledge Critical Thinkers series places key
thinkers and their ideas firmly back in their contexts.
More than this, these books reflect the need to go back to the thinker’s
own texts and ideas. Every interpretation of an idea, even the most seemingly
innocent one, offers its own ‘spin’, implicitly or explicitly. To read only
books on a thinker, rather than texts by that thinker, is to deny yourself a
chance of making up your own mind. Sometimes what makes a significant
figure’s work hard to approach is not so much its style or content as the
feeling of not knowing where to start. The purpose of these books is to give
you a ‘way in’ by offering an accessible overview of these thinkers’ ideas and
works and by guiding your further reading, starting with each thinker’s own
texts. To use a metaphor from the philosopher Ludwig Wittgenstein
(1889–1951), these books are ladders, to be thrown away after you have
climbed to the next level. Not only, then, do they equip you to approach new
ideas, but they empower you, by leading you back to a theorist’s own texts
and encouraging you to develop your own informed opinions.
Finally, these books are necessary because, just as intellectual needs have
changed, the education systems around the world – the contexts in which
introductory books are usually read – have changed radically, too. What was
suitable for the minority higher education system of the 1960s is not suitable
for the larger, wider, more diverse, high-technology education systems of the
twenty-first century. These changes call not just for new, up-to-date intro-
ductions but new methods of presentation. The presentational aspects of
Routledge Critical Thinkers have been developed with today’s students in mind.
Each book in the series has a similar structure. They begin with a section
offering an overview of the life and ideas of each thinker and explain why she
or he is important. The central section of each book discusses the thinker’s
key ideas, their context, evolution and reception. Each book concludes with
a survey of the thinker’s impact, outlining how their ideas have been taken
up and developed by others. In addition, there is a detailed final section
suggesting and describing books for further reading. This is not a ‘tacked-on’
section but an integral part of each volume. In the first part of this section
you will find brief descriptions of the thinker’s key works, then, following
this, information on the most useful critical works and, in some cases, on
relevant websites. This section will guide you in your reading, enabling you
to follow your interests and develop your own projects. Throughout each
book, references are given in what is known as the Harvard system (the
author and the date of a work cited are given in the text and you can look up
the full details in the bibliography at the back). This offers a lot of information
in very little space. The books also explain technical terms and use boxes to
describe events or ideas in more detail, away from the main emphasis of the
discussion. Boxes are also used at times to highlight definitions of terms
frequently used or coined by a thinker. In this way, the boxes serve as a kind
of glossary, easily identified when flicking through the book.
The thinkers in the series are ‘critical’ for three reasons. First, they are
examined in the light of subjects which involve criticism: principally literary
studies or English and cultural studies, but also other disciplines which rely
on the criticism of books, ideas, theories and unquestioned assumptions.
Second, they are critical because studying their work will provide you with
a ‘tool kit’ for your own informed critical reading and thought, which will
make you critical. Third, these thinkers are critical because they are crucially
important: they deal with ideas and questions which can overturn con-
ventional understandings of the world, of texts, of everything we take for
granted, leaving us with a deeper understanding of what we already knew and
with new ideas.
No introduction can tell you everything. However, by offering a way into
critical thinking, this series hopes to begin to engage you in an activity which
is productive, constructive and potentially life-changing.
I would like to thank Mark Berry, John Hughes, Drew Milne, Josh Robinson,
the participants in the Critical Aesthetics conference at Cornell University
in April 2006 (especially Robin J. Sowards and Samir Gandesha), and my
father, Mike Wilson. David Garrard’s comments were, as ever, of the highest
value. Robert Eaglestone has been a helpful, encouraging and patient editor,
as has Aileen Storry at Routledge. I also thank the Master and Fellows of
Emmanuel College, Cambridge, for supporting my work.
I would not have begun writing this book without Simon Jarvis. I am
extremely happy to acknowledge my gratitude to him. I would not have
finished writing it without the tireless support of my wife, Lesley Wylie.
This book is dedicated to her. I alone am to blame for the flaws in it.
ABBREVIATIONS
Before I can attempt to answer the question ‘Why Adorno?’ an even more
basic and pressing question needs to be addressed: what was Theodor
W. Adorno (1903–69)? This question has an unusually long list of answers.
Adorno was a philosopher, a sociologist, a musicologist, a critic of music
and literature, and, indeed, a composer. He was also defined by Hitler’s
National Socialist regime as being ‘of half-Jewish origin’ and, in order to
avoid otherwise inevitable persecution, became a refugee, first in Great
Britain and then in America. Adorno was a prominent intellectual in post-
war West Germany, where he was involved in widely broadcast and
controversial debates with other intellectual figures. He was a stringent critic
of modern society, diagnosing the precariousness of a world with the
potential either to establish peace and security for all its inhabitants, or to
slide at any moment into unimaginable horror. He died during the period of
self-proclaimed revolutionary agitation by the student movements of the late
1960s, with which he had, in many ways, a particularly uncomfortable
relationship.
I give neither this list of Adorno’s interests nor this indication of the
historical circumstances through which he lived in order to daunt you into
awe of the subject of this book, although the breadth of those interests and
the turmoil of those circumstances are indeed daunting. Rather, it is necessary
from the outset to have some understanding of the range of Adorno’s interests
and concerns, and of the historical context in which they emerged. It is not
just the case that we should engage with Adorno’s work because he was a
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