Theodor Adorno

Adorno Vizengruvd-Adorno (Wiesengrund-Adorno) Theodor (1903-1969) - It. philosopher, the representative of the Frankfurt School, cultural studies, a sociologist of art. He studied at the Vienna University they studied the music. A song from the composer. Berg, a student. Schoenberg. Since 1931 A. taught in Frankfurt, un-te (where he returned in 1949), in 1934 was forced into exile in Britain, from 1938 worked in the U.S.. Center, the content of A. Philosophy has. insight into the music. works. Philos. A position. evolved into an ongoing discussion with the major trends of the past and present: from Husserl (his dissertation is devoted to A.), . with Kierkegaard (a book about him published in 1933), . with specific perceived dialectic of Hegel, . became the core of the extremely broad and, . essentially, . Eclectic, . as well as several aesthetically assimilation A,
. diverse motives philosophy 19-20 centuries. The impact of Nietzsche, Simmel, Bergson, schools. George and others. processed under the sign of a culture of criticism in the typical A. spirit 'razoblachitelstva', with-rum to the essence of a particular type of Philosophy. thoughts and artist. creativity is to unconsciously coded social impulses, reflecting the history. time and is manifested primarily in the form of-Rui philosopher or an artist thinks and to-heaven (as a kind of tool history) makes him think of himself. This form itself 'is' thinker, forcing him to create certain works as 'social codes'. Conform such cultural-critical. A focus. and its rejection is logically complete, the finished product of thinking, in t.ch. and art, as 'false ideology'. Enormous role in the creation of a. play music. In 40-ies. wrote a common cultural and critical. part for the book Mr.. Eisler 'Composing music for the film', advised the T. and vulgar Sociology. passages of thought, the disclosure of non-trivial finite social impulses most difficult music - with straightforward diagnoses. Apologist of the new Viennese school (A. Schoenberg, A. Berg, A. Webern), A. identified himself with it as thinly listening and thinking along with the music philosopher. A post-war work. compound, although somewhat akademiziruyut his characteristic mood of despair ( 'negative dialectics', 1966). A. breaks Hegelian triad 'thesis - antithesis - synthesis ", attributing the materiality and creative. meaning only antithesis, negation, to-Roe does not stop the movement and exposes any 'positivity', always known to be false. True art can only be a denial - the perpetual process of negation of any positive, any alleged hostile to any finality and systemic. Thus, the true art is utriruemogo absurd, art, negates itself, and incomprehensible way, derive meaning from the denial of any meaning. In Qual-ve only justified in a. stands with the theater of the absurd. Beckett that has led to the fullness of negativity. Just as the meaning of art, in A. and history itself, under the influence of the Messianic ideas of Benjamin and Bloch, rests on the utopian. image - the notion of 'other' ( 'what would have been different'). Committed to the negation, and. in the works designed something like the rhetoric of decomposition, so that he has almost no serious student.
Focus A. - Regressive socio-anthropological. changes (the withering away of reflection, its replacement with stereotyped responses and mental cliches and the like) associated with the development of a mass 'cultural industries', with the standardization of relations in monopolistich. 'managed on-ve'.