Upon moving to Vienna in January 1925, Adorno immersed himself in the musical culture which had grown up around Schoenberg: in addition to his twice-weekly sessions with Berg, Adorno continued his studies on piano with Eduard Steuermann and befriended the violinist Rudolf Kolisch.

In that time he became acquainted with Theodor Adorno and befriended Georg Lukács, whose The Theory of the Novel ( 1920 ) much influenced him.

As a writer of polemics in the tradition of Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture.

At the Philosophers ’ Conference of October 1962 in Münster, at which Habermas wrote that Adorno was " A writer among bureaucrats ", Adorno presented " Progress.

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.

Other famous scholars who have taught at the University of Vienna are: Theodor W. Adorno, Manfred Bietak, Theodor Billroth, Ludwig Boltzmann, Franz Brentano, Anton Bruckner, Rudolf Carnap, Conrad Celtes, Viktor Frankl, Sigmund Freud, Eduard Hanslick, Edmund Hauler, Hans Kelsen, Adam František Kollár, Johann Josef Loschmidt, Fran Miklošič, Oskar Morgenstern, Otto Neurath, Johann Palisa, Pope Pius II, Baron Carl von Rokitansky, August Schleicher, Moritz Schlick, Ludwig Karl Schmarda, Joseph von Sonnenfels, Josef Stefan, Leopold Vietoris, Jalile Jalil, Carl Auer von Welsbach, and Olga Taussky-Todd.

* July 11 – July 22 – The Darmstädter Ferienkurse are held in Darmstadt with a series of lectures by Theodor W. Adorno, two public discussions of the new medium of electronic music, and world premieres of works by ( amongst others ) Richard Rodney Bennett, Pierre Boulez, Jacques Calonne, Aldo Clementi, Luc Ferrari, Alexander Goehr, Bengt Hambraeus, Hans Werner Henze, Bruno Maderna, Henri Pousseur, and Karlheinz Stockhausen.

Szondi welcomed, among others, Jacques Derrida ( before he attained worldwide recognition ), Pierre Bourdieu and Lucien Goldman from France, Paul de Man from Zürich, Gershom Sholem from Jerusalem, Theodor W. Adorno from Frankfurt, Hans Robert Jauss from the then young University of Konstanz, and from the US René Wellek ( Harvard ), Geoffrey Hartman and Peter Demetz ( Yale ), along with the liberal publicist Lionel Trilling.

It published work by Walter Benjamin, Jacques Lacan, El Lissitsky, Hans Magnus Enzensberger, Herbert Marcuse, Theodor Adorno, Antonio Gramsci, and Louis Althusser, and interviewed Jean-Paul Sartre, Georg Lukács, and Lucio Colletti.

Before his many books were published Hans Albert was already known to a broader audience for his contributions to the positivism dispute answering his opponents of the so called Frankfurt School ( school of Theodor W. Adorno and Max Horkheimer at Frankfurt's Institute of Sociology ).

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:

Along with future collaborators like Walter Benjamin, Max Horkheimer, Ernst Bloch, Adorno was profoundly disillusioned by the ease with which Germany's intellectual and spiritual leaders — among them Max Weber, Max Scheler, Ernst Simmel, as well as his friend Siegfried Kracauer — came out in support of the war.

In a proposal for transforming the journal, Adorno sought to use Anbruch for championing radical modern music against what he called the " stabilized music " of Pfitzner, the later Strauss, as well as the neoclassicism of Stravinsky and Hindemith.

Receiving favorable reports from Professors Tillich and Horkheimer, as well as Benjamin and Kracauer, the University conferred on Adorno the venia legendi in February 1931 ; on the very day his revised study was published, in March 1933, Hitler seized dictatorial powers.

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.

Fascist propaganda of this sort, Adorno wrote, " simply takes people for what they are: genuine children of today ’ s standardized mass culture who have been robbed to a great extent of their autonomy and spontaneity " The result of these labors, the 1950 study The Authoritarian Personality was pioneering in its combination of quantitative and qualitative methods of collecting and evaluating data as well as its development of the F-scale.

Adorno ’ s own recently published Minima Moralia was not only well received in the press, but also met with great admiration from Thomas Mann, who wrote to Adorno from America in 1952:

Like many of his students, Adorno too opposed the emergency laws, as well as the war in Vietnam, which, he said, proved the continued existence of the " world of torture that had begun in Auschwitz ” The situation only deteriorated with the police shooting of Benno Ohnesorg at a protest against the Shah's visit.

An open appeal published in Die Zeit, signed by Adorno, called for an inquiry into the social reasons that gave rise to this assassination attempt as well as an investigation into the Springer Press ' manipulation of public opinion.

For the summer semester Adorno planned a lecture course entitled " An Introduction to Dialectical Thinking ," as well as a seminar on the dialectics of subject and object.

Adorno was chiefly influenced by Max Weber's critique of disenchantment, Georg Lukács's Hegelian interpretation of Marxism, as well as Walter Benjamin's philosophy of history.

In the face of this radical liberation of the musical material, Adorno came to criticize those who, like Stravinsky, withdrew from this freedom by tasking recourse to forms of the past as well as those who turned twelve-tone composition into a technique which dictated the rules of composition.

Some of the most famous University of Frankfurt scholars are associated with this school, including Theodor Adorno, Max Horkheimer, and Jürgen Habermas, as well as Herbert Marcuse, Erich Fromm, and Walter Benjamin.

In his theoretical work, Strauss showed the influence of the ancient classics, Nietzsche, Heidegger as well as Adorno, but his outlook was also radically anti-bourgeois.

In the beginning there was no dispute on positivism, because Adorno as well as Popper were opposed to positivism.

The problems posed by the rise of fascism with the demise of the liberal state and the market ( together with the failure of a social revolution to materialize in its wake ), constitute the theoretical and historical perspective that frames the overall argument of the book – the two theses that “ Myth is already enlightenment, and enlightenment reverts to mythology .” The history of human societies, as well as that of the formation of individual ego or self, is re-evaluated from the standpoint of what Horkheimer and Adorno perceived at the time as the ultimate outcome of this history: the collapse or “ regression ” of reason, with the rise of National Socialism, into something resembling the very forms of superstition and myth out of which reason had supposedly emerged as a result of historical progress or development.

To characterize this history, Horkheimer and Adorno draw on a wide variety of material, including the philosophical anthropology contained in Marx ’ s early writings, centered on the notion of “ labor ,” Nietzsche ’ s genealogy of morals ( and the emergence of conscience through the renunciation of the will to power ), Freud ’ s account in Totem and Taboo of the emergence of civilization and law in murder of the primordial father, ethnological research on magic and ritual in primitive societies, as well myth criticism, philology and literary analysis.

Alexander Garcia Düttman's Das Gedächtnis des Denkens: Versuch über Heidegger und Adorno ( The Memory of Thought: an Essay on Heidegger and Adorno, translated by Nicholas Walker ) attempts to treat the philosophical value of these seemingly opposed and certainly incompatible terms " Auschwitz " and " Germania " in the philosophy of both men in a manner that is not simply comparative.

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.

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

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.