Adorno S Nietzschean Narratives

This is the first book to provide a broad and comparative analysis of the relationship of these two influential thinkers to one another. Defying conventional appropriations of Nietzsche's and Adorno's thought, Bauer establishes crucial links between different traditions of critical thought, suggesting elective and selective affinities in the pursuit of a radicalized critique of ideology and culture. Against Habermas, Bauer argues that Nietzsche did not abandon the project of modernity, but rather achieved its most radical confrontation with the myths of the Enlightenment. Bauer's inquiry into Nietzsche's and Adorno's critiques of rationality, historicism, metaphysics, and Bildung culminates in an exposition of their readings of Wagner, who serves as a medium and supplement for their critiques of modern culture.

Investigates the intellectual affinities of Adorno and Nietzsche, culminating in a discussion of their readings of Wagner, who serves as a medium and supplement for their critiques of modern culture.

..". Shapiro's book is bursting with thoughts, and if one is willing to mine them, one is sure to find items of interest or provocation." -- The Journal of Aesthetics and Art Criticism Taking issue with a widely held view that Nietzsche's writings are essentially fragmentary or aphoristic, Gary Shapiro focuses on the narrative mode that Nietzsche adopted in many of his works. Such themes as eternal recurrence, the question of origins, and the problematics of self-knowledge are reinterpreted in the context of the narratives in which Nietzsche develops or employs them.

Adorno is often left out of the &“canon&” of influences on contemporary feminist theory, but these essays show that his work can provide valuable material for feminist thinking about a wide range of issues. Theodor Adorno was a leading scholar of the Institute for Social Research in Frankfurt, Germany, otherwise known as the Frankfurt School. With Max Horkheimer he contributed to the advance of critical theorizing about Enlightenment philosophy and modernity. Inflected by Kant, Marx, Nietzsche, and Freud, Adorno&’s thinking defies easy categorization. Ranging across the disciplines of philosophy, musicology, and sociology, his work has had an impact in many fields. His Dialectic of Enlightenment (written with Max Horkheimer) was profoundly influential as a critique of fascistic and authoritarian impulses in Enlightenment thinking in the context of late capitalism. Questions addressed in the volume range from dilemmas in feminist aesthetic theory to the politics of suffering and democratic theory. The essays are exemplary as works in interdisciplinary scholarship, covering a wide range of issues and ideas in feminism as authors critically interpret the many facets of Adorno&’s work. They take Adorno&’s historical situatedness as a scholar into consideration while exploring the relevance of his ideas for post-Enlightenment feminist theory. His philosophical and cultural investigations inspire reconsideration of Enlightenment principles as well as a rethinking of &“postmodern&” ideas about identity and the self. Feminist Interpretations of Theodor Adorno will introduce feminists to Adorno&’s work and Adorno scholars to modes of feminist critique. It will be especially valuable for senior undergraduate and graduate courses in contemporary political, social, and cultural theory. In addition to the editor, contributors are Paul Apostolidis, Mary Caputi, Rebecca Comay, Jennifer Eagan, Mary Ann Franks, Eva Geulen, Sora Han, Andrew Hewitt, Gillian Howie, Lisa Yun Lee, Bruce Martin, and Lambert Zuidervaart.

Adorno's Poetics of Critique is a critical study of the Marxist culture-critic Theodor W. Adorno, a founding member of the Frankfurt school and widely regarded today as its most brilliant exponent. Steven Helmling is centrally concerned with Adorno's notoriously difficult writing, a feature most commentators acknowledge only to set it aside on the way to an expository account of 'what Adorno is saying'. By contrast, Adorno's complex writing is the central focus of this study, which includes detailed analysis of Adorno's most complex texts, in particular his most famous and complicated work, co-authored with Max Horkheimer, Dialectic of Enlightenment. Helmling argues that Adorno's key motifs - dialectic, concept, negation, immanent critique, constellation - are prescriptions not merely for critical thinking, but also for critical writing. For Adorno the efficacy of critique is conditioned on how the writing of critique is written. Both in theory and in practice, Adorno urges a 'poetics of critique' that is every bit as critical as anything else in his 'critical theory.

Examines how Nietzschean ideas influenced the composition of Mahler's first four, so-called Wunderhorn, symphonies. Gustav Mahler and Friedrich Nietzsche both exercised a tremendous influence over the twentieth century. All the more fascinating, then, is Mahler's intellectual engagement with the writings of Nietzsche. Given the limited and frequently cryptic nature of the composer's own comments on Nietzsche, Mahler's specific understanding of the elusive thinker is achieved through the examination of Nietzsche's reception amongst the people who introduced composer to philosopher: members of the Pernerstorfer Circle at the University of Vienna. Mahler's Nietzsche draws on a variety of primary sources to answer two key questions. The first is hermeneutic: what do Mahler's allusions to Nietzsche mean? The second is creative: how can Mahler's own characterization of Nietzsche as an "epoch-making influence" be identified in his compositional techniques? By answering these two questions, the book paints a more accurate picture of the intersections of the arts, philosophy and politics in fin-de-siècle Vienna. Mahler's Nietzsche will be required reading for scholars and students of nineteenth and early twentieth century German music and philosophy.

"A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question."—Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society "An invaluable contribution to Adorno scholarship, with well chosen essays on composers, works, the culture industry, popular music, kitsch, and technology. Leppert's introduction and commentaries are consistently useful; his attention to secondary literature remarkable; his interpretation responsible. The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy "With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, McMaster University "The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection. What might be called his 'literature on notes' brilliantly complements the 'notes to literature' he devoted to the written word. Richard Leppert's superb commentaries constitute a book-length contribution in their own right, which will enlighten and challenge even the most learned of Adorno scholars."—Martin Jay, author of The Dialectical Imagination: A History of The Frankfurt School and the Institute of Social Research "There is afoot in Anglo-American musicology today the first wholesale reconsideration of Adorno's thought since the pioneering work of Rose Rosengard Subotnik around 1980. Essays on Music will play a central role in this effort. It will do so because Richard Leppert has culled Adorno's writings so as to make clear to musicologists the place of music in the broad critique of modernity that was Adorno's overarching project; and it will do so because Leppert has explained these writings, in commentaries that amount to a book-length study, so as to reveal to non-musicologists the essentially musical foundation of this project. No one interested in Adorno from any perspective—or, for that matter, in modernity and music all told—can afford to ignore Essays on Music."—Gary Tomlinson, author of Metaphysical Song: An Essay on Opera "This book is both a major achievement by its author-editor and a remarkable act of scholarly generosity for the rest of us. Until now, English translations of Adorno's major essays on music have been scattered and often unreliable. Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking. This volume remedies both problems at a single stroke. It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music. No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work. From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project."—Lawrence Kramer, author of Musical Meaning: Toward a Critical History

Nietzsche and Adorno on Philosophical Praxis, Language, and Reconciliation: Towards an Ethics of Thinking offers a philosophical notion of an “ethics of thinking,” a kind of thinking that is receptive to the non-identical character of the world of human and non-human objects. Paolo A. Bolaños experiments with the ideas of Friedrich Nietzsche and Theodor W. Adorno, who are presented as contemporary proponents of the Frühromantik tradition. Bolaños offers a reconstruction of the respective philosophies of language of Nietzsche and Adorno, as well as a rehearsal of their critique of metaphysics and identity thinking, in order to develop a notion of philosophical praxis that is grounded in the ethical dimension of thinking. Via Nietzsche and Adorno, Bolaños argues that thinking’s performative participation in uncertainty broadens the domain of reason, thereby also broadening our conceptual capacities and our receptivity to new possibilities of thinking. As an ethical praxis, thinking guards itself from the error of solidification, thereby opening philosophy to a reconciliatory, as opposed to domineering, reception of the world.