" In this sense, the principle of self-preservation, Adorno writes in Negative Dialectics, is nothing but " the law of doom thus far obeyed by history.

Upon his return to Frankfurt, Adorno was influential to the reconstitution of German intellectual life through debates with Karl Popper on the limitations of positivist science, critiques of Heidegger's jargon of authenticity, writings on German responsibility for the Holocaust, and continued interventions into matters of public policy.

Given the science of personality assessment, the variety of methods Adorno, et al.

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

Berg passed this on to his students, one of whom, Theodor Adorno, stated: " The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different ".

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

Theodor Adorno produced numerous reports on the effects of " atomized listening " which radio supported and of which he was highly critical.

Working for the newly relocated Institute for Social Research, Adorno collaborated on influential studies of authoritarianism, anti-semitism and propaganda that would later serve as models for sociological studies the Institute carried out in post-war Germany.

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.

Cornelius advised Adorno to withdraw his application on the grounds that the manuscript was too close to his own way of thinking.

Between 1928 and 1930 Adorno took on a greater role within the editorial committee of the Musikblätter des Anbruch.

Yet his reservations about twelve-tone orthodoxy became steadily more pronounced: According to Adorno, twelve-tone technique's use of atonality can no more be regarded as an authoritative canon than can tonality be relied on to provide instructions for the composer.

Thus, in the middle of 1929 he accepted Paul Tillich's offer to present an Habilitation on Kierkegaard, which Adorno eventually submitted under the title The Construction of the Aesthetic.

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.

Though Adorno was not himself an Institute member, the journal nevertheless published many of his essays, including " The Social Situation of Music " ( 1932 ), " On Jazz " ( 1936 ), " On the Fetish-Character in Music and the Regression of Listening " ( 1938 ) and " Fragments on Wagner " ( 1938 ).

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.

Before his emigration in autumn 1934, Adorno began work on a Singspiel based on Mark Twain's The Adventures of Tom Sawyer entitled The Treasure of Indian Joe, which he would, however, never complete ; by the time he fled Hitler's Germany Adorno had already written over a hundred opera or concert reviews and an additional fifty critiques of music composition.

Under the direction of Gilbert Ryle, Adorno worked on a dialectical critique of Husserl's epistemology.

Adorno continued writing on music, publishing " The Form of the Phonograph Record " and " Crisis of Music Criticism " with the Viennese musical journal 23, " On Jazz " in the Institute's Zeitschrift, " Farewell to Jazz " in Europäischen Revue.

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.

At this time, Adorno was in intense correspondence with Walter Benjamin on the subject of the latter ’ s Arcades Project.

* The Melancholy Science, An Introduction to the Thought of Theodor W. Adorno ( 1978 )

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 ).

Rescued by two Neapolitan barons who had sided for Louis, Raimondello Orsini and Tommaso di Sanseverino, after six months of siege he succeeded in making his escape to Genoa with six galleys sent him by doge Antoniotto Adorno.

However, because of profound methodological disagreements with Lazarsfeld over the use of techniques like listener surveys and " Little Annie " ( Adorno thought both grossly simplified and ignored the degree to which expressed tastes were the result of commercial marketing ), Adorno left the project in 1941.

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.

The eldest daughter of the Karplus family, Margarete, or Gretel, moved in the intellectual circles of Berlin, where she was acquainted with Walter Benjamin, Bertolt Brecht and Ernst Bloch, each of whom Adorno would become familiar with during the mid-20s ; after fourteen years, Gretel and Theodor were married in 1937.

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.

Before his graduation, Adorno had already met with his most important intellectual collaborators, Max Horkheimer and Walter Benjamin.

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.

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.

A paradigmatic modernist exhortation was articulated by philosopher and composer Theodor Adorno, which in the 1940s, invited to challenge conventional surface coherence and appearance of harmony:

Another member of the Frankfurt school, Theodor Adorno, published The Authoritarian Personality, in 1950, which was an influential sociological book which could be taken as something of a proto-psychohistorical book.

" Horkheimer ’ s contributions to this debate, in the form of the essays " The Authoritarian State ," " The End of Reason " and " The Jews and Europe " served as a foundation for what he and Adorno planned to do in their book on dialectical logic.

After seven years of work, Adorno completed Negative Dialectics in 1966, after which, during the summer semester of 1967 and the winter semester of 1967-8, he offered regular philosophy seminars to discuss the book chapter by chapter.

During the winter semester of 1968-9 Adorno was on sabbatical leave from the university and thus able to dedicate himself to the completion of his book of aesthetics.

The critic Theodor W. Adorno, in his book In Search of Wagner ( written in the 1930s ), expresses the opinion that the entire concept of the leitmotif is flawed.

In 1947, he wrote the book Composing for the Films with Theodor W. Adorno.

In the book Dialectic of Enlightenment ( 1944 ), Adorno and Max Horkheimer presented the Theory of the Culture Industry to describe how the human imagination ( artistic, spiritual, intellectual activity ) becomes commodified when subordinated to the " natural commercial laws " of the market.

Beyond literary criticism or historical analysis, Schmitt's book also lays out a comprehensive theory of the relationship between aesthetics and politics that responds to alternative ideas developed by Walter Benjamin and Theodor W. Adorno.

The term culture industry was coined by the critical theorists Theodor Adorno ( 1903 – 1969 ) and Max Horkheimer ( 1895 – 1973 ), and was presented as critical vocabulary in the chapter “ The Culture Industry: Enlightenment as Mass Deception ”, of the book Dialectic of Enlightenment ( 1944 ), wherein they proposed that popular culture is akin to a factory producing standardized cultural goods — films, radio programmes, magazines, etc.

A most important and direct contribution came from the philosopher and music critic Theodor Adorno, who acted as Mann's adviser and encouraged him to rewrite large sections of the book.

Minima Moralia: Reflections From Damaged Life () is a 1951 book by Theodor W. Adorno and a seminal text in Critical Theory.

It was originally written for the fiftieth birthday of his friend and collaborator Max Horkheimer, who co-authored the book Dialectic of Enlightenment with Adorno.

Adorno illustrates this in a series of short reflections and aphorisms into which the book is broken, moving from everyday experiences to disturbing insights on general tendencies of late industrial society.

The book acknowledges its roots in the " damaged life " of its author, one of many intellectuals driven into exile by fascism, who, according to Adorno, are " mutilated without exception ".

Dialectic of Enlightenment () is a book of philosophy and social criticism written by Frankfurt School philosophers Max Horkheimer and Theodor W. Adorno and first published in 1944.

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.

However, the term had appeared five years earlier in a German language book by the sociologist Theodor W. Adorno, Der getreue Korrepetitor ( The Faithful Répétiteur ).