...Steven Helmling Duke University Press 2005 ‘‘Immanent Critique’’ and ‘‘Dialectical Mimesis’’ in Adorno and Horkheimer’s Dialectic of Enlightenment Steven Helmling Given the ubiquity of the phrase...

...Peter E. Gordon The landmark 1950 study in social psychology The Authoritarian Personality represents a significant attempt to correlate right-wing political orientation with psychological or characterological dispositions. As a collaborator and coauthor of the study, Theodor W. Adorno brought...

...Michael Clark Although they came from strikingly different backgrounds, both William V. Spanos and Theodor W. Adorno were radically transformed by the historical circumstances of World War II. Both recounted those experiences in memoirs that questioned the degeneration of rationality...

...Allen Dunn Both Martin Heidegger and Theodor Adorno lament the disenchantment of the world that results from the secularization process, but both are loath to call for a return to mythic culture. They seek a postsecular source of value independent of both premodern myth and enlightened reason...

...Bill Dietz; Gavin Steingo In this essay, we present a reading of two dominant (often, though not always, opposed) modes of understanding music's value: first, a “negative posit” associated most closely with Theodor Adorno that valorizes negation and social uselessness and, second, an “affirmative...

... Theodor Adorno and Edward Said, inaugurated with the posthumous publica- tion of Said’s On Late Style. . Theodor W. Adorno, Essays on Music (Berkeley: University of California Press, 2002), 567. Hereafter, this work is cited parenthetically as EM. . David Blum, The Art of Quartet Playing...

...Rachel Blau DuPlessis Duke University Press 2006 Draft 52: Midrash Rachel Blau DuPlessis Nach Auschwitz ein Gedicht zu schreiben ist barbarisch. —Theodor Adorno, ‘‘Kulturkritik und Gesellschaft in Prismen The more total...

...Naomi Mandel Rethinking ‘‘After Auschwitz Against a Rhetoric of the Unspeakable in Holocaust Writing Naomi Mandel 1. Just What Part of ‘‘Auschwitz’’ Don’t We Understand? When Theodor Adorno situated contemporary culture...

...; from Germany’s coming to terms with its Nazi past to contemporary memory studies; from world literature and globalization to the humanities education today; from his intellectual debt to Martin Heidegger and Michel Foucault to his first exposure to the work of Theodor Adorno, and his relationship...

... original, an approach that makes it difficult for us to take part in what Adorno once called “the dream of a world in which things would be different.” Shahid instead widens the circle of “friends” addressed in Faiz's Urdu and in the process renders creative interpretations of fidelity revolutionary...

... and divisions. The author’s experience as a translator, the concept of determinate negation as developed by Theodor W. Adorno, the translation theory of Walter Benjamin, and a poem by Paul Celan support claims that translation is a dialectical process that works both ways: it influences the translator’s...

..., as Theodor Adorno and Max Horkheimer already argued, but pharmacologically (in Plato's sense). The pharmacological character of Contempt can be demonstrated through its manifold recapitulations of cinematic and literary history, including Alberto Moravia's novel, Homer's Odyssey , and quotations from...

... Theodor W. Adorno's fear that the “administered world” that arose in the twentieth century might “strangle all spontaneity,” artists embraced chance, open‐endedness, and indeterminacy. In the process, experimental artists went beyond negating the rationalized postwar social order; their work also...

... Scholem claims that the ideas expressed therein are clearly of a piece with those Benjamin was occupied with in the early 1920s and that the fragment clearly bears the stamp of those years. Adorno, how- ever, gives a much different date for the fragment. He claims that Benjamin read...

... into the world of the mundane and the everyday.1 In this world, political intensities are either repressed through instrumental reason or transported into the realm of the commodity fad. Desire is therefore either repressed or commodified. Theodor Adorno once noted that it is just this form of politics...

... fascist overtones as they are astutely committed to the continuation of German aesthetic expres- sion. That Hitlerian fascism conceptualized war and violence in the purest aesthetic terms is indisputable in retrospect, and German intellectual and artistic minds, from Walter Benjamin and Theodor Adorno...

... be put together by adding the separated halves, but in both there appear, however distantly, the changes of the whole, which only moves in contradiction. —Theodor Adorno 1 At its best, the Urdu lyric verse of Faiz Ahmed Faiz (1911–1984) can make available to the reader...

... is “Das Ganze ist das Unwahre” (Adorno 1951 : 80, sec. 29). E. F.N. Jephcott translates this as, “The whole is the false” (Adorno [1951] 1974 : 50, sec. 29). As Jephcott's translator's note points out, this is an “inversion of Hegel's famous dictum: Das Wahre ist das Ganze— the whole is the true...

... of consciousness.14 The terror that comes from an identification of oneself with the zom- 12. Max Horkheimer and Theodor W. Adorno write, “The mere idea of the ‘outside’ is the real source of fear,” connecting this primal emotion to self-preservation and the econ- omy’s hold on the individual...

... and amplified in the writings of Theodor Adorno, for whom the Augenblick is linked to the experience of a breakthrough, at once emancipatory and destructive, for the work of music. It is also redolent in Walter Benjamin’s concept of the flashing, particularly in moments of historical crisis when...