Critical Models: Interventions and Catchwords

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Columbia University Press, Aug 12, 1999 - Philosophy - 404 pages
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The two collections combined in this volume -- "Interventions: Nine Critical Models" (1963) and "Catchwords: Critical Models II" (1969) -- are passionate examples of Adorno's postwar commitment to unmasking the culture that engendered Nazism and its antihumanist nightmare. Included here are Adorno's practical recommendations for reform in primary and higher education, his explanation for the enduring therapeutic value of psychoanalysis, and his appeal to raise public awareness of "propaganda tricks" that exploit prejudice and chauvinism.

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Critical models: interventions and catchwords

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Adorno, a leading member of the Frankfurt school, often expressed himself in prose of daunting complexity. As he showed after his return to Germany following World War II, he was also capable of ... Read full review

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About the author (1999)

Theodor W. Adorno is the progenitor of critical theory, a central figure in aesthetics, and the century's foremost philosopher of music. He was born and educated in Frankfurt, Germany. After completing his Ph.D. in philosophy, he went to Vienna, where he studied composition with Alban Berg. He soon was bitterly disappointed with his own lack of talent and turned to musicology. In 1928 Adorno returned to Frankfurt to join the Institute for Social Research, commonly known as The Frankfurt School. At first a privately endowed center for Marxist studies, the school was merged with Frankfort's university under Adorno's directorship in the 1950s. As a refugee from Nazi Germany during World War II, Adorno lived for several years in Los Angeles before returning to Frankfurt. Much of his most significant work was produced at that time. Critics find Adorno's aesthetics to be rich in insight, even when they disagree with its broad conclusions. Although Adorno was hostile to jazz and popular music, he advanced the cause of contemporary music by writing seminal studies of many key composers. To the distress of some of his admirers, he remained pessimistic about the prospects for art in mass society. Adorno was a neo-Marxist who believed that the only hope for democracy was to be found in an interpretation of Marxism opposed to both positivism and dogmatic materialism. His opposition to positivisim and advocacy of a method of dialectics grounded in critical rationalism propelled him into intellectual conflict with Georg Hegel, Martin Heidegger, and Heideggerian hermeneutics.

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