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The term culture industry (German: Kulturindustrie) was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", [1] of the book Dialectic of Enlightenment (1947), wherein they proposed that popular culture is akin to a factory producing ...
Adorno and Horkheimer argue that antisemitism is a deeply rooted, irrational phenomenon that stems from the failure of the Enlightenment project and the inherent contradictions of bourgeois society. They argue that Jews serve as a universal scapegoat onto which individuals and societies project their deepest fears, anxieties, and neuroses.
In contrast, Adorno and Horkheimer saw the rise of the culture industry as promoting homogeneity of thought and entrenching existing authorities. [33] For instance, Adorno (a trained classical pianist) polemicized against popular music because it had become part of the culture industry of advanced capitalist society and the false consciousness ...
Also, Critical Theory, when capitalized, is a school of thought practiced by the Frankfurt School theoreticians Herbert Marcuse, Theodor Adorno, Walter Benjamin, Erich Fromm, and Max Horkheimer. Horkheimer described a theory as critical insofar as it seeks "to liberate human beings from the circumstances that enslave them". [5]
Horkheimer and Adorno stated that these products were so standardized in order to help consumers comprehend and appreciate the products with little attention given to them. They expressed, "the result is a constant reproduction of the same thing" (Adorno and Horkheimer, 1993 [1944]).
Although Adorno's name heads the alphabetical list of authors, he arrived late to the project and made a relatively small contribution. [22] [need quotation to verify] Adorno, in a 1947 letter to Horkheimer, said that his main contribution was the F-scale, which in the end was the "core of the whole thing."
Gretel Adorno assisted her husband Adorno and his intellectual partner Max Horkheimer in developing the manuscript for Dialectic of Enlightenment. Adorno and Horkheimer acknowledged her in the foreword to that work: "In the extension of our theory and the accompanying mutual experiences Gretel Adorno has been a precious helper." [7]: x
While he was in New York, Horkheimer's essays "The Latest Attack on Metaphysics" and "Traditional and Critical Theory", which would soon become instructive for the institute's self-understanding, were the subject of intense discussion. Soon after his return to Europe, Gretel moved to Britain, where she and Adorno were married on 8 September 1937.