By Simon Jarvis
Jarvis deals an advent to the highbrow and institutional contexts for Adorno's concept, and examines his contributions to social conception, cultural concept, aesthetics and philosophy. He demonstrates the long-lasting coherence and explanatory strength of Adorno's paintings and illustrates its carrying on with relevance to modern debates.
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Additional info for Adorno: A Critical Introduction
7' The account of the double character of language given in the Ddrctic of Enliglitairnent, however, should in any case already allow us to contest such an interpretation. 33 Adorno's case is not, then, that 'purely discursive thinking' 'ought' to be deplored because of its coercive classification of particulars under universals; it is that purely discursive thinking, absolute literalness, is not even thinkable. Language itself already provides the model for a The Didectic of Enlightetrment 33 coercionless synthesis.
Each is internally circular. If Homer’s truths are timeless, we need not go to Homer for them; but if they arc radically incommensurablc, then we bar in advance the very access we claim to seek. Adorno and Horkheimer’s serious play allows us instead to recognize the identity and difference of the ancient and the modern. When Odysseus is described as a woodworking hobbyxst, or the producer’s dictates as theological dogma, the shock ree;zsters our recognition both of the similarity of the terms compared and of the gulf between them.
The first is from the extended reading of the Odyssey, 'Odysseus, or Myth and Enlightenment': The test Penelope puts her husband to concerns the immovable position of the marriage bed; her husband had based it on an olive tree round which he had built the mom itself - the olive tree being the symbol of [the unity ofl sex and property Penelope's moving artifice is to speak as if the bed could be moved from its position: furious, her husband answm her with a detailed account of lus longlasting piece of woodwork.
Adorno: A Critical Introduction by Simon Jarvis