New Release Books by Theodor Adorno

No other country and no other period has produced a tradition of major aesthetic debate to compare with that which unfolded in German culture from the 1930s to the 1950s. In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.

Hugely influential study of the psychology of authoritarianism What makes a fascist? Are there character traits that make someone more likely to vote for the far right? The Authoritarian Personality is not only one of the most significant works of social psychology ever written, it also marks a milestone in the development of Adorno’s thought, showing him grappling with the problem of fascism and the reasons for Europe’s turn to reaction. Over half a century later and with the rise of right-wing populism and the reemergence of the far-right in recent years, this hugely influential study remains as insightful and relevant as ever. This new edition includes an introduction by Frankfurt School scholar Peter E. Gordon and contains the first-ever publication of Adorno’s subsequent critical notes on the project.

Theodor Adorno and Max Horkheimer wrote the central text of “critical theory”, Dialectic of Enlightenment, a measured critique of the Enlightenment reason that, they argued, had resulted in fascism and totalitarianism. Towards a New Manifesto shows the two philosophers in a uniquely spirited and free-flowing exchange of ideas. This book is a record of their discussions over three weeks in the spring of 1956, recorded with a view to the production of a contemporary version of The Communist Manifesto. A philosophical jam-session in which the two thinkers improvise freely, often wildly, on central themes of their work—theory and practice, labor and leisure, domination and freedom—in a political register found nowhere else in their writing. Amid a careening flux of arguments, aphorisms and asides, in which the trenchant alternates with the reckless, the playful with the ingenuous, positions are swapped and contradictions unheeded, without any compulsion for consistency. A thrilling example of philosophy in action and a compelling map of a possible passage to a new world.

A classic of twentieth-century thought, charting how society devours itself through the very rationality that was meant to set it free Theodor Adorno and Max Horkheimer are the leading figures of the Frankfurt School and this book is their magnum opus. Dialectic of Enlightenment is one of the most celebrated works of modern social philosophy and continues to impress in its wide-ranging ambition. Writing just after World War II and reflecting on the bureaucracy and myths of National Socialism and the inanity of the dawn of consumerism, Adorno and Horkheimer addressed themselves to a question which went to the very heart of the modern age: ‘why mankind, instead of entering into a truly human condition, is sinking into a new kind of barbarism’. Modernity, far from redeeming the promises and hopes of the Enlightenment, had resulted in the stultification of mankind and administered society, characterised by simulation and candy-floss entertainment. Tracing humanity’s modern fall to the very rationality that was to be its liberation, the authors exposed the domination and violence that underpin the Enlightenment project.

Theodor Adorno was no stranger to controversy. In The Jargon of Authenticity he gives full expression to his hostility to the language employed by certain existentialist thinkers such as Martin Heidegger. With his customary alertness to the uses and abuses of language, he calls into question the jargon, or 'aura', as his colleague Walter Benjamin described it, which clouded existentialists' thought. He argued that its use undermined the very message for meaning and liberation that it sought to make authentic. Moreover, such language - claiming to address the issue of freedom - signally failed to reveal the lack of freedom inherent in the capitalist context in which it was written. Instead, along with the jargon of the advertising jingle, it attributed value to the satisfaction of immediate desire. Alerting his readers to the connection between ideology and language, Adorno's frank and open challenge to directness, and the avoidance of language that 'gives itself over either to the market, to balderdash, or to the predominating vulgarity', is as timely today as it ever has been.

This collection covers a wide range of topics, from a moving study of Bizet’s Carmen to an entertainingly caustic exploration of the hierarchies of the auditorium. Especially significant is Adorno’s “dialectical portrait” of Stravinsky, in which Adorno both reconsiders and refines his damning indictment of the composer in Philosophy on Modern Music. Throughout, Adorno is sustained by the conviction that music is supremely human because it is capable of communicating inhumanity while resisting it. His belief in the benevolent and transformative power of music reverberates throughout these writings.

A reflection on everyday existence in the 'sphere of consumption of late Capitalism', this work is Adorno's literary and philosophical masterpiece.

The most brilliant exponent of Frankfurt School Marxism subtly interweaves aesthetics and ideology in this probing analysis of the controversial composer's oeuvre.

This is the first British paperback edition of this modern classic written by one of the towering intellectual of the twentieth century. Theodor Adorno (1903-69) was a leading member of the Frankfurt School. His books include The Jargon of Authenticity, Dialectic of Enlightenment (with Max Horkheimer), and Aesthetic Theory

The Stars Down to Earth shows us a stunningly prescient Adorno. Haunted by the ugly side of American culture industries he used the different angles provided by each of these three essays to showcase the dangers inherent in modern obsessions with consumption. He engages with some of his most enduring themes in this seminal collection, focussing on the irrational in mass culture - from astrology to new age cults, from anti-semitism to the power of neo-fascist propaganda. He points out that the modern state and market forces serve the interest of capital in its basic form. Stephan Crook's introduction grounds Adorno's arguments firmly in the present where extreme religious and political organizations are commonplace - so commonplace in fact that often we deem them unworthy of our attention. Half a century ago Theodore Adorno not only recognised the dangers, but proclaimed them loudly. We did not listen then. Maybe it is not too late to listen now.

A collection of key articles on the irrational in mass culture, relevant to the understanding of phenomena such as astrology and New Age cults, the power of neo-fascist propaganda and the psychological basis of popular culture, showing Theodor Adorno at his brilliant and maddening best.

"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