By Simon Jarvis
Jarvis bargains an creation to the highbrow and institutional contexts for Adorno's inspiration, and examines his contributions to social concept, cultural thought, aesthetics and philosophy. He demonstrates the long-lasting coherence and explanatory strength of Adorno's paintings and illustrates its carrying on with relevance to modern debates.
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Additional resources for Adorno: A Critical Introduction
This is how he interprets this aspect of Hegel's philosophy of history and the associated concept of a worldspirit - although Adorno emphasizes that Hegel is far from being the complacent apologist for historical progress for whom he is often rnistakenw Yet at the same time he is not satisfied with the presentation of history as sheer discontinuity, as though there were no connection whatsoever between different 'cpochs'; or as though monad-like 'cultures' could be presented in their sheer individuality without a concept of culture in general.
2 - The Dialectic of Enlightenment Introduction Adorno and Horkheimer’s Diulectic of Enlightenmmf is, on first reading, a bewildering book. The reader is confronted with what look like a series of wild generalizations barely susceptible to empirical confirmation, claims which are not followed by a leisurely marshalling of evidence, but rather by further equally ambitious claims: ‘Myth is already enlightenment‘; ‘Enlightenment reverts to mythology‘; T h e history of civilization is the introversion of sacrifice’.
Enlightenment reverts to mythology Adomo and Horkheimer do not use the term ’enlightenment’ primarily to designate a historical period running from Dexartes to Kant. Instead they usc it to refer to a scries of related intellectual and practical operations which are presented as demythologizing, secularizing or disenchanting some mythical, religious or magical representation of the world. The protest of Xenophanes against the p r o e o n of human qualities on to the gods is, in this sense, no less typical of ’enlightenment’ than, say, Helvktius’s materialism or The Diafeciicof Enlightenmen!
Adorno: A Critical Introduction by Simon Jarvis