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Zusatztext Adorno, Aesthetics, Dissonance is certain to make a distinctive contribution to the most recent literature on Adorno. While many have traced the influences of Kant and Hegel on Adorno's aesthetics, this book definitively shows the equally deep marks made by Adorno's engagement with a host of contemporary composers and writers. Here we find an Adorno developing his thinking about art and society while embedded in the most advanced art of his time. Informationen zum Autor William S. Allen (PhD, University of Warwick) is an independent researcher at the University of Southampton, UK, and the author of the following books: Ellipsis: Of Poetry and the Experience of Language after Heidegger, Hölderlin, and Blanchot (2007); Aesthetics of Negativity: Blanchot, Adorno, and Autonomy (2016); Without End: Sade’s Critique of Reason (Bloomsbury, 2018); Blanchot and the Outside of Literature (Bloomsbury, 2019); Noir and Blanchot: Deteriorations of the Event (Bloomsbury, 2020); and Adorno, Aesthetics, Dissonance: On Dialectics in Modernity (Bloomsbury, 2022). Klappentext Adorno's aesthetics is one of the most important philosophical analyses of the 20th century, but its development remains unclear. This book for the first time provides a detailed study of the way that Adorno's thinking of aesthetics developed and involved different dimensions that came together to make it uniquely powerful. Principal among these dimensions is his intense interest in music and his concomitant materialist approach. However, by studying how Adorno's aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought is changed in its relation to dialectics. As a result, Adorno's thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing so transforms both aesthetics and dialectics through a notion of dissonance, which will in turn have substantial implications for the relation of his thinking to praxis. Vorwort An analysis of the development and range of Adorno’s aesthetics, incorporating the influence of other thinkers and musicians. Zusammenfassung Adorno’s aesthetics are one of the most important philosophical analyses of the 20th century, but their development remains unclear. Adorno, Aesthetics, Dissonance is the first book to provide a detailed study of how Adorno’s thinking of aesthetics developed and to show the different dimensions that came together to make it uniquely powerful. Principal among these dimensions are his intense interest inmusic and his historical and materialist approach. In addition, by studying how Adorno’s aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought changes in its relation to dialectics. As a result, Adorno’s thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing sotransforms both aesthetics and dialectics through a notion of dissonance, which in turn has substantial implications for the relation of his thinking to praxis. Inhaltsverzeichnis Acknowledgements Abbreviations Introduction: Dialectic of Aesthetics Part One: The Development of Dialectics 1. Kracauer and the Dialectic of Natural-History 2. Dialectics of the Avant-Garde in Music Part Two: Refractions of Aesthetics 3. Horkheimer, Sade, and Erotic Reason 4. Klossowski, Perversity, Criminality 5. Beside Herself with Desire: Musil 6. Modernity and Utopia Notes Index ...
