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Aesthetic Theory was edited by Gretel Adorno (the philosopher's widow) and Rolf Tiedemann from Adorno's working drafts. [4] 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.
Daniel Sherer, "Adorno's Reception of Loos: Modern Architecture, Aesthetic Theory, and the Critique of Ornament", Potlatch 3 (Spring 2014), 19–31. Sound recordings with Theodor W. Adorno in the Online Archive of the Österreichische Mediathek (Scientific lectures) (in German) Theodor W. Adorno discography at Discogs
The following is a list of the major work by Theodor W. Adorno, ... Aesthetic Theory, trans. R. Hullot-Kentor (Minneapolis: University of Minnesota Press, 1997)
When Theodor Adorno died suddenly in 1969 without having finalised the manuscript of Aesthetic Theory, Gretel Adorno and Adorno's former student Rolf Tiedemann took up the task of bringing that document to completion and publication. They discuss in the Editor's Afterword how "Adorno’s metaphor for works of art applies literally to the last ...
The writings of the Frankfurt School, especially the work of Theodor W. Adorno, becomes the center. [5] This work foregrounds Adorno's cultural criticism, especially his engagement with European literature and aesthetic theory. [6] Adorno's aesthetic theory becomes the focus of Hohendahl's second Adorno monograph. [7]
Adorno's work has had a large impact on cultural criticism, particularly through Adorno's analysis of popular culture and the culture industry. [10] Adorno's account of dialectics has influenced Joel Kovel, [11] the sociologist and philosopher John Holloway, the anarcho-primitivist philosopher John Zerzan, [12] the sociologist Boike Rehbein, [13] and the Austrian musicologist Sebastian Wedler.
Minima Moralia: Reflections from Damaged Life (German: Minima Moralia: Reflexionen aus dem beschädigten Leben) is a 1951 critical theory book by German philosopher Theodor W. Adorno. Adorno started writing it during World War II, in 1944, while he lived as an exile in America
Theodor Adorno in the 20th century was a critic of much popular music. Others in the 21st century, such as Eugene W. Holland, have constructively proposed jazz improvisation as a socio-economic model, and Edward W. Sarath has constructively proposed jazz as a useful paradigm for understanding education and society. [8]