620:, Adorno is concerned not only with such standard aesthetic preoccupations as the function of beauty and sublimity in art, but with the relations between art and society. He feels that modern art's freedom from such restrictions as cult and imperial functions that had plagued previous eras of art has led to art's expanded critical capacity and increased formal autonomy. With this expanded autonomy comes art's increased responsibility for societal commentary. However, Adorno does not feel that overtly politicized content is art's greatest critical strength: rather, he champions a more abstracted type of "truth-content" (
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was edited by Gretel Adorno (the philosopher's widow) and Rolf
Tiedemann from Adorno's working drafts. It was assembled from unfinished manuscripts Adorno had composed between May 4, 1961, and July 16, 1969, mainly between October 25, 1966, and January 24, 1968. A series of revisions were undertaken
661:
An initial
English translation by Christian Lenhardt in 1984 broke "the original single-paragraph sections into smaller paragraphs". Robert Hullot-Kentor's 1997 translation attempted to reproduce the mostly paragraph-less presentation of the original text. This translation currently acts as the
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or idealist aesthetics, Adorno's aesthetics locates truth-content in the art object, rather than in the perception of the subject. Such content is, however, affected by art's self-consciousness at the hands of its necessary distance from society, which is perceptible in such instances as the
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interactions that emerge from the artwork's position(s) relative to subject and greater societal tradition, as well as internal dialectics within the work itself. Throughout, Adorno praises dramatist
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807:. Ed. Gretel Adorno and Rolf Tiedemann. Trans. Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 1997.
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800:. Ed. Gretel Adorno and Rolf Tiedemann. Trans. Christian Lenhardt. London and Boston: Routledge and Kegan Paul, 1984.
604:, considering the socio-political implications of this progression. Some critics have described the work as Adorno's
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Adorno retraces the historical evolution of art into its paradoxical state of "semi-autonomy" within capitalist
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814:. Ed. Gretel Adorno and Rolf Tiedemann. Trans. Robert Hullot-Kentor. London, New York: Continuum, 2004.
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dissonances inherent in modern art. Truth-content is ultimately found in the relation between
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and ranked it among the most important pieces on aesthetics published in the 20th century.
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and other philosophical pursuits in keeping with Adorno's boundary-shunning methodology.
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Kaufman, Robert. "Red Kant, or the
Persistence of the Third 'Critique' in Adorno and
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between
September 1968 and July 1969, weeks before his death in August of that year.
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793:. Ed. Gretel Adorno and Rolf Tiedemann. Frankfurt am Main: Suhrkamp Verlag, 1970.
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Gretel Adorno and Rolf
Tiedemann, "Editor's Afterword" to Theodor W. Adorno,
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Gretel Adorno and Rolf
Tiedemann, "Editor's Afterword" to Theodor W. Adorno,
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838:. University Park, PA: Pennsylvania State University Press, 1992. 188-274.
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Robert Hullot-Kentor, "Translator's
Introduction" to Theodor W. Adorno,
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Semblance of
Subjectivity: Essays in Adorno's Aesthetic Theory
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Late
Marxism: Adorno, or, The Persistence of the Dialectic
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Adorno entry at the
Stanford Encyclopedia of Philosophy
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Adorno's Aesthetic Theory: The Redemption of Illusion
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Exact Imagination, Late Work: On Adorno's Aesthetics
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844:. "Art After Auschwitz: Theodor Adorno". In
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577:) is a book by the German philosopher
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848:. Oxford: Blackwell, 1990. 341-65.
913:The Theodor Adorno Internet Archive
907:Stanford Encyclopedia of Philosophy
865:. London and New York: Verso. 1990.
717:, New York: Routledge, 1998, p. 96.
704:at UMN Press, retrieved 31-08-2011.
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890:. Cambridge, MA: MIT Press, 1991.
883:. Cambridge, MA: MIT Press, 1997.
855:. Cambridge, MA: MIT Press, 1991.
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641:, to whom the book was dedicated.
459:Cultural Marxism conspiracy theory
210:The Theory of Communicative Action
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846:The Ideology of the Aesthetic
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687:, retrieved 12-24-10.
509:Philosophy portal
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159:Eros and Civilization
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