While at Mondovì, he came to the attention of Francesco Adorno, the local Jesuit Provincial Superior, who sent him to the University of Padua.

Prior to his graduation at the top of his class, Adorno was already swept up by the revolutionary mood of the time, as is evidenced by his reading of Georg Lukacs's The Theory of the Novel that year, as well as by his fascination with Ernst Bloch's The Spirit of Utopia, of which he would later write:

At the end of his schooldays, Adorno not only benefited from the rich concert offerings of Frankfurt-in which one could hear performances of works by Schoenberg, Schreker, Stravinsky, Bartók, Busoni, Delius and Hindemith-but also began studying music composition at the Hoch Conservatory while taking private lessons with well-respected composers Bernhard Sekles and Eduard Jung.

Leaving gymnasium to study philosophy, psychology and sociology at Johann Wolfgang Goethe University in Frankfurt, Adorno continued his readings with Kracauer, turning now to Hegel and Kierkegaard, and began publishing concert reviews and pieces of music for distinguished journals like the Zeitschrift für Musik, the Neue Blätter für Kunst und Literatur and later for the Musikblätter des Anbruch.

In these articles, Adorno championed avant-garde music at the same time as he critiqued the failings of musical modernity, as in the case of Stravinsky ’ s The Soldier ’ s Tale, which he called in 1923 a “ dismal Bohemian prank .” In these early writings, he was unequivocal in his condemnation of performances which either sought or pretended to achieve a transcendence which Adorno, in line with many intellectuals of the time, regarded as impossible: “ No cathedral ,” he wrote, “ can be built if no community desires one .” In the summer of 1924, Adorno received his doctorate with a study of Edmund Husserl under the direction of the unorthodox neo-Kantian Hans Cornelius.

7 premiered in Frankfurt, at which time Adorno introduced himself to Berg and both agreed the young philosopher and composer would study with Berg in Vienna.

As the work proceeded — and Kierkegaard's overcoming of Hegel's idealism is revealed to be a mere interiorization — Adorno excitedly remarks in a letter to Berg that he is writing without looking over his shoulder at the faculty who would soon evaluate his work.

Several months after qualifying as a lecturer in philosophy, Adorno delivered an inaugural lecture at the Institute for Social Research, an independent organization which had recently appointed Horkheimer as its director and, with the arrival of the literary scholar Leo Lowenthal, social psychologist Erich Fromm and philosopher Herbert Marcuse, sought to exploit recent theoretical and methodological advances in the social sciences.

" In line with Benjamin's The Origin of German Tragic Drama and preliminary sketches of the Arcades Project, Adorno likened philosophical interpretation to experiments which should be conducted " until they arrive at figurations in which the answers are legible, while the questions themselves vanish.

At the same time, however, and owing to both the presence of another prominent sociologist at the Institute, Karl Mannheim, as well as the methodological problem posed by treating objects-like " musical material "-as ciphers of social contradictions, Adorno was compelled to abandon any notion of " value-free " sociology in favor of a form of ideology critique which held on to an idea of truth.

With the help of the Academic Assistance Council, Adorno registered as an advanced student at Merton College, Oxford, in June 1934.

During the next four years at Oxford, Adorno made repeated trips to Germany to see both his parents and Gretel, who was still working in Berlin.

While at Oxford, Adorno suffered two great losses: his Aunt Agathe died in June 1935, while Alban Berg died in December of the same year.

In light of this situation, Horkheimer soon found a permanent post for Adorno at the Institute.

Until his death in 1969, twenty years after his return, Adorno contributed to the intellectual foundations of the Federal Republic, as a professor at Frankfurt University, critic of the vogue enjoyed by Heideggerian philosophy, partisan of critical sociology and teacher of music at the Darmstadt International Summer Courses for New Music.

Adorno resumed his teaching duties at the university soon after his arrival, with seminars on " Kant ’ s Transcendental Dialectic ," aesthetics, Hegel, “ Contemporary Problems in the Theory of Knowledge ” and “ The Concept of Knowledge .” Adorno ’ s surprise at his students ' passionate interest in intellectual matters did not, however, blind him to continuing problems within Germany: The literary climate was dominated by writers who had remained in Germany during Hitler's rule, the government re-employed people who had been active in the Nazi apparatus and people were generally loath to own up to their own collaboration or the guilt they thus incurred.

After stopping in Paris, where he met Daniel-Henry Kahnweiler, Michel Leiris and Rene Leibowitz, Adorno delivered a lecture entitled " The Present State of Empirical Social Research in Germany " at a conference on opinion research.

At the same time, however, Adorno renewed his musical work: with talks at the Kranichsteiner Musikgesellschaft, another in connection with a production of Ernst Krenek ’ s opera Leben des Orest, and a seminar on “ Criteria of New Music ” at the Fifth International Summer Course for New Music at Kranichstein.

Although green anarchism develops themes present in the political action of the Luddites and the writings of Jean-Jacques Rousseau, when primitivism emerged it was influenced more directly by the works of theorists such as the Frankfurt School Marxists Theodor Adorno and Herbert Marcuse ; anthropologists Marshall Sahlins and Richard Borshay Lee ; and others such as Lewis Mumford, Jean Baudrillard and Gary Snyder.

One of the nuns in this group was Saint Catharine Fieschi Adorno, who died on September 14, 1510.

In 1953, sociologist Theodor W. Adorno conducted a study of the astrology column of a Los Angeles newspaper as part of a project examining mass culture in capitalist society.

Adorno concluded that astrology was a large-scale manifestation of systematic irrationalism, where individuals were subtly being led to believe that the author of the column was addressing them directly through the use of flattery and vague generalizations.

Theodor Adorno felt that aesthetics could not proceed without confronting the role of the culture industry in the commodification of art and aesthetic experience.

Theodor Adorno claimed in 1969 “ It is self-evident that nothing concerning art is self-evident .” Artists, philosophers, anthropologists, psychologists and programmers all use the notion of art in their respective fields, and give it operational definitions that vary considerably.

* Theodor W. Adorno, Aesthetic Theory, Minneapolis, University of Minnesota Press, 1997.

This finding was echoed by Theodor Adorno.

* Horkheimer, Max ; Adorno, Theodor W. ( 1944 /' 47 ) Dialectic of Enlightenment

* Adorno, Theodor W. ( 1966 ) Negative Dialectics

Critical theory was established as a school of thought by five Frankfurt School theoreticians: Herbert Marcuse, Theodor Adorno, Max Horkheimer, Walter Benjamin, and Jürgen Habermas.

One of the distinguishing characteristics of critical theory, as Adorno and Horkheimer elaborated in their Dialectic of Enlightenment ( 1947 ), is a certain ambivalence concerning the ultimate source or foundation of social domination, an ambivalence which gave rise to the “ pessimism ” of the new critical theory over the possibility of human emancipation and freedom.

For Adorno and Horkheimer state intervention in the economy had effectively abolished the tension in capitalism between the " relations of production " and " material productive forces of society ," a tension which, according to traditional critical theory, constituted the primary contradiction within capitalism.

" For Adorno and Horkheimer, this posed the problem of how to account for the apparent persistence of domination in the absence of the very contradiction that, according to traditional critical theory, was the source of domination itself.

Though unsatisfied with Adorno and Horkeimer's thought presented in Dialectic of Enlightenment, Habermas shares the view that, in the form of instrumental rationality, the era of modernity marks a move away from the liberation of enlightenment and toward a new form of enslavement.

It has also been closely identified with certain kinds of artistic and cultural practice by Cornelius Castoriadis, Antonio Gramsci, Herbert Marcuse, Jacques Ranciere, and Theodor Adorno.

Although he never returned to Germany to live, he remained one of the major theorists associated with the Frankfurt School, along with Max Horkheimer and Theodor W. Adorno ( among others ).

Weber has influenced many later social theorists, such as Theodor Adorno, Max Horkheimer, György Lukács and Jürgen Habermas.

Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence and appearance of harmony typical of the rationality of Enlightenment thinking.

Adorno would have us understand modernity as the rejection of the false rationality, harmony, and coherence of Enlightenment thinking, art, and music.

Mustafa took refuge in the city of Gallipoli but the sultan, who was greatly aided by a Genoese commander named Adorno, besieged him there and stormed the place.

Such work may be based on feminist, gender studies, queer theory, or postcolonial theory, or the work of Theodor Adorno.

* Adorno, Theodor.