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Adorno Reader (Wiley Blackwell Readers) [Paperback]

Brian O'Connor

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Book Description

1 Jan 2000 Wiley Blackwell Readers
This superb volume brings together for the first time the essential readings selections from Adorno′s multidisciplinary work. It will be valuable to readers at various levels as it makes available Adorno material which previously was either difficult to access or was presented in a form which was intimidating.


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Review

"Philosopher, social theorist, musicologist and critic, Adorno is now accepted as one of our century′s most brilliant radical thinkers. The great virtue of Brian O′Connor′s lucidly presented selection is to make clear the depth and consistency, as well as the extraordinary range, of Adorno′s work. The book will be of value to newcomers and scholars alike." Michael Rosen, Lincoln College, University of Oxford "Invaluable. Brian O′Connor has put together the ideal Adorno reader, containing not only Adorno′s finest essays, but precisely the pieces that are necessary for teaching Adorno. Because of its range, this volume will suit students of literature and social theory as well as philosophy." Jay M. Bernstein, Vanderbilt University "This collection of Adorno′s most significant essays, along with the excerpts from his major philosophical texts, provides a much needed single resource for guiding students through the critical force of Adorno′s thinking. O′Connor′s introduction gives a compact overview of the history of Adorno′s writings as well as a lucid...exposition of Adorno′s concept of experience." Colin Hearfield, University of New England

From the Back Cover

This volume is the essential collection of readings from the multidisciplinary work of Theodor Adorno, one of the most influential and admired German thinkers of the twentieth century. In order to allow a ready appreciation of a specific area of Adorno′s thought, The Adorno Reader organizes the most important of his writings into five sections: the task of philosophy, the concepts of philosophy, sociological writings, culture, and aesthetic criticism. In addition to a general introduction, the editor has provided individual introductions to all of the material in the book. By explicating some of the more obscure terminology and arguments these introductions clearly situate each piece within the larger context of Adorno′s writings and his philosophical tradition.

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First Sentence
'The Actuality of Philosophy' is the earliest and undoubtedly the clearest of Adorno's efforts to define the task of philosophy. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Amazon.com: 4.0 out of 5 stars  2 reviews
9 of 18 people found the following review helpful
3.0 out of 5 stars Sure he was a snob... 4 July 2006
By Budd Boetticher - Published on Amazon.com
Format:Paperback
It's OK to concede this.

And he was an armchair academic who eschewed every opportunity for real-life praxis.

He was human, fallible, prone to snap judgments on subjects he didn't understand.

And YET...despite his snobbery (why wasn't he frequenting the great jazz clubs of South L.A. if he was so interested in essaying the subject?), and despite his vulnerability to any number of Sloterdijkian critiques...there are enough moments of tough, bristling intelligence to make it all so very worthwhile.

BUT DON'T START HERE. Go straight to the fount; with Adorno context is EVERYTHING. Pick up Aesthetic Theory (Hullot-Kentor translation) and Minima Moralia. Appetite whetted? Try Negative Dialectics next. And then come back here and write your own review. :)
3 of 27 people found the following review helpful
5.0 out of 5 stars Perennial mirrors 17 Dec 2003
By A Customer - Published on Amazon.com
Format:Paperback
Do not be put off by Adorno's so-called "critique" of jazz music.
Adorno's critique, all critiques are embodied in jazz. His use of the essay-form itself shows his desire to put constraints on his art to free himself, from those boundaries he denounces, or boundaries which he feels will co-opt him. Besides, many who call him a "snob" for this are forgetting that jazz improvisation is a transgression of the idiom, which is what Adorno speaks of when he labels it a fashion. He speaks of the idiom, and the lack of possibilities on divers ONTOLOGICAL levels. No matter what he thought, he's still a super-cronopio.
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