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by Herbert Edward Read,Theodor Wiesengrund Adorno,Slavoj Zizek

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Theodor W. Adorno (1903-69).

Theodor W. One of the towering intellectual figures of the twentieth century, and a leading member of the influential group of theorists known as the Frankfurt School. His works include Aesthetic Theory, Mahler, The Jargon of Authenticity and Negative Dialectics.

Society and Culture Bundle book. See a Problem? We’d love your help. First published in 2007  . Details (if other): Cancel. Adorno (/əˈdɔːrnoʊ/; German: ; born Theodor Ludwig Wiesengrund; September 11, 1903 – August 6, 1969) was a German philosopher, sociologist, psychologist, musicologist, and composer known for his critical theory of so. . Adorno (/əˈdɔːrnoʊ/; German: ; born Theodor Ludwig Wiesengrund; September 11, 1903 – August 6, 1969) was a German philosopher, sociologist, psychologist, musicologist, and composer known for his critical theory of society

Theodor Adorno was no stranger to controversy.

Theodor Adorno was no stranger to controversy.

Adorno’s classic defence of Arnold Schoenberg’s twelve-tone system . One hundred and fifty-three dazzling aphorisms, in which Adorno reflects on the vanishing of concrete, individual experience in modern, bourgeois society

Adorno’s classic defence of Arnold Schoenberg’s twelve-tone system as the high point of musical modernism. Its conception of modern music was the crucial source for Thomas Mann’s Doctor Faustus. 1951) Minima Moralia. Reflexion aus dem Beschädigten Leben, Frankfurt: Suhrkamp; trans. One hundred and fifty-three dazzling aphorisms, in which Adorno reflects on the vanishing of concrete, individual experience in modern, bourgeois society. 1956) Zur Metakritik der Erkenntnistheorie.

The following is a list of the major work by Theodor W. Adorno, a 20th-century German philosopher, sociologist and critical theorist associated closely with the Frankfurt School. This list also includes information regarding English translation. Adorno's Gesammelte Schriften are published by Suhrkamp Verlag.

Herbert Read was a maverick character in the cultural life of the twentieth century. A radical leader of the avant garde in the 1930s, and an anarchist revolutionary during the war years, by the time of his death in 1968 he had become a key figure at the heart of the British cultural establishment. To Hell with Culture offers readers an ideal overview of the ideas that marked out this seminal and hugely influential thinker. Adorno - a German sociologist, philosopher and musicologist . Theodor Adorno - Minima Moralia, one of the best books I've ever read. Adorno - a German sociologist, philosopher and musicologist known for his critical theory of society. He was a leading member of the Frankfurt School of critical theory. Theodor Adorno’s Critical Theory Text Minima Moralia Sung as Hardcore Punk Songs. Max Horkheimer (front left), Theodor Adorno (front right), and Jürgen Habermas (in the background, right), in 1964 in Heidelberg. What others are saying.

Flag as Inappropriate Impressed by Horkheimer's book of aphorisms, Dawn and Decline, Adorno began working on his own book of aphorisms, what would.

Flag as Inappropriate. Theodor Ludwig Adorno-Wiesengrund was born in Frankfurt am Main on September 11, 1903, the only child of Oscar Alexander Wiesengrund (1870–1946) and Maria Calvelli-Adorno della Piana (1865–1952). His mother, a devout Catholic from Corsica, was once a professional singer, while his father, an assimilated Jew who had converted to Protestantism, ran a successful wine-export business. Impressed by Horkheimer's book of aphorisms, Dawn and Decline, Adorno began working on his own book of aphorisms, what would later become Minima Moralia.

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Goltizuru
After an introduction that is both stultifying and adds little to the content to come, the book settles into Adorno's prose. (Also annoying is that the dates of the essays' original publications are not given; only their printings in edited editions are offered.) It is this that makes the book so difficult to rate because, while Adorno's theories are at once based on hysterical, fever-swamp constructions and assumptions that he often states as facts (rather than fallible premises), his logic and writing is quite incisive and insightful, *were* one to accept the assumptions upon which they were based. From the perspective of formal logic, his conclusions (logically) follow from his premises, no matter how fanciful (or irresponsible) those premises may be.

As such, one might even call his arguments "rational," after a fashion, though I am less certain of this because the endeavor seems, ultimately, to be an exercise in teleology. That is, it is (abundantly) clear that Adorno hates Western culture (the locus of the eponymous "culture industry"), capitalism (which he confusingly misidentifies as "monopoly" capitalism), anything that might make the prols more comfortable and, therefor, inconveniently less "revolutionary" and radical, and a whole litany of other things besides. So it seems he *chooses* his foundation assumptions with care, so that he can extend them to their ultimate telos: a trenchant critique on all things cultural and Western. He trusts, with good reason, that given the right fodder, his formidable intellect will transport him to his ends, so long as he's selected the right points of departure. And so he chooses his assumptions not so much because of their empirical validity (which he denigrates anyway), their objective Truth (per, say, Popper) or even their social validity, but rather as the fuel for his engine of hatred for what he sees about him (although he has a particular loathing for the fascists, notwithstanding his own totalitarian inclinations, they are by no means the sole or even primary target for this particular set of critiques).

As such, as the source of so much pre-determined and thus unreasoning-reason, his perspectives provide great insight into the contemporary Progressive movement and the adherents hitherto. Educated, erudite, and (radically) unhinged not by madness but by choice. Given the Frankfurt School's ongoing (though often unacknowledged and/or unknown) influence on the latter's thoughts and perspectives, the book's essays are every bit as relevant as when they were written.

But while reading this provides some great insight and, indeed, food for thought, one must ultimately wonder: given the outcome, is the effort really worth the candle?
Mataxe
The essay on Freetime is worth the price of the book alone. I loved this collection of essays at times it can drift into that French style of academic post modern writing , as in , this book is itself reflected unto its self look back at itself thinking about tomorrow , type thing , but not as intense. Great if your interested in the study of society glad I bought this book , due another read in fact . Enjoy.
Hasirri
Amazing book. Prompt service.
Mr.Champions
What can you say about a guy who thought Walt Disney was the most dangerous man in the United States? Gotta love Theodor Adorno. As a philosophy major, I find his work fascinating. He's one of the reasons (just one) that I don't have a television and I can't stand network or cable television. There is a Culture Industry out there, and (if you've studied Karl Marx, as have I) you know that governments and power structures spawn their own ideologies, and they play 24/7 on television broadcasts. Seriously, one reason I hate going to the doctor's office (just one) is the television set mounted over the waiting room. Free yourself and free your minds. Read Adorno. And throw your television set out the window. (Or, I should say, recycle it responsibly).
Dozilkree
Small print. Beware.
Duzshura
Profoundly lucid, sometimes ascorbic and always thorough. I suggest anyone who is wondering whether the music industry is killing music must read Callahan's "The Trouble With Music" and "The Culture Industry"!
Xanna
Theodore Adorno's book The Culture Industry is wide-ranging, predictably difficult, and of uneven interest and quality across the nine thematically related essays that constitute its chapters. As with Horkheimer and Adorno's Dialectic of Enlightenment, those who have read Horkehimer's Eclipse of Reason will be better able than others to come close to taking the full measure of The Culture Industry. The gains in accessibility and concentration will not be as substantial with The Culture Industry, but though Adorno does not explicitly invoke Horkheimer's concepts of subjective reason (means-ends relationships) and objective reason (the intrinsic merit of things in themselves), they are implicit and of critical importance throughout much of the book. They correspond closely to the well-known distinction between exchange value and use value. Thus their pertinence in work written by scholars heavily influenced by Marx is no surprise.

One of the difficulties with The Culture Industry is that Adorno uses the concept culture in a variety of different ways. This variability is not uncommon among philosophers and social scientists who write about culture, but even though the inconsistency does not provoke confusion to the point of making The Culture Industry unintepretable, it is sometimes annoying, generating needless uncertainty in an already difficult book. I understand, however, that when gathering together material written at different times concerning a variety of loosely related topics concerning the same broadly over-arching theme, errors of this kind may be difficult to completely avoid.

In addition, however, Adorno, without explicit acknowledgement, takes the word culture to mean different things depending on the analytical context in which he is engaged. High culture and autonomous culture refer to works of art and architecture whose production is not dependent on a broad-based audience for justification and financing. The concept autonomous culture, however, may be misleading if we take it to mean reliant only on the artist or architect who conceives it and follows through with execution. Architecture, especially, may be autonomous of mass interest but heavily dependent on wealthy individuals and organizations eager to exert aesthetic and practical influence. Mass culture, on the other hand, is produced only if it is manifest in what is sometimes characterized as low-brow art, things such as paperback-rack literature and formulaic films that require a large consumer base.

Given the foregoing distinction, I think one of the limitations of The Culture Industry is that judgments as to the ostensible quality of cultural phenomena are in danger of being based on distinctions between their likely audiences and supporters. This seems clearly to discount objective reason in the evaluation of cultural material and practices.

Of greatest interest, given the nature of his book, is Adorno's use of the concept culture to refer to what today is often termed material practice, ways of engaging the world so that, for better or worse, it is understandable and navigable. The Culture Industry, as understood by Adorno, consists largely of a collection countless taken-for-granted preconceptions, suppositions, psychological defense mechanisms, and unwittingly routinized ways of doing things that assure that culture will prevent those imbued with it from surpassing limits set by the status quo. Culture in this stultifying form, with rare departures from things as they are, subsumes the other uses of the concept, providing a reactionary and creatively deadening set of circumstances that works to the advantage of Big Capital. The rest of us are bound by ideas, emotions, activities, and performances that reproduce what already exists.

For the most part, The Culture Industry is written at a very high level of abstraction, often leaving the reader to contrive his or her own instructive examples. For this reason, I found Paul Willis' 1977 book Learning to Labor an invaluable resource. As an ethnographic account of an anti-authoritarian peer group in a British comprehensive school, the primary virtue of Willis' brilliant book is in showing us that, though the peer group and its members take pride in their artful distinctiveness and opositional nature, they are just as thoroughly entrapped in the social and political status quo as their more compliant age-mates. In fact, the seemingly distinctive nature of their material practice assures that they will fit the same occupational roles as their fathers, buttressing the capital-intensive industrial status quo. One wonders what they are doing now that globalization has moved their shop floor to a low-wage third world country. After all, the forms of rebelliousness they manifested were quite conventional and only obliquely political. Anyone who expects people socialized in this way to make a revolution or strike a spark of creativity that dramatically improves their diminished circumstances is in for a long wait.

The Culture Industry, whether referring to art, mass communications, education, the organization of the workplace, or any other setting or activity stifles the sort of innovations that would engender freedom and unfetter creative departures from existing ways of doing things. Though Adorno doesn't put it in this way, when subjective reason in pursuit of dollar-valued production through use of proletarianized labor came to determine the character of the social forces that provide the context for our lives, The Culture Industry became inevitable. It is an essential, inescapable, even if unnoticed and consciously unplanned determinant of banal everyday reality in a capitalist social system.

The Culture Industry is a very insightful and informative book, but I don't think that anyone would characterize Adorno's prose, translated from German, as elegant, streamlined, or particularly accessible. In addition, "On the Fetish Character of Music and the Regression of Listening" was a poorly chosen essay to serve as the first chapter. By presupposing substantial technical knowledge of music, it hardly serves as a suitable invitation to continue with a difficult text.

I'm glad I took the time to read The Culture Industry, and if Adorno were still alive I'd be very interested his take on the internet. As far as I can tell, it further solidifies the penetration and hold of Big Capital and dramatically facilitates this process on a world scale. Social media are readily absorbed into The Culture Industry, leaving Big Capital in control, giving pride of place to subjective reason and exchange value, and mystifying us all with the appearance of liberating change, chimerical though it is. Marx's base/superstructure model is often used in a grossly over-simplified way, but it remains powerfully suggestive, as is evident from reading The Culture Industry. There seems no way to exhaust the timeliness of Marx, a social science genius if there ever was.