Adorno’s Positive Dialectic by Yvonne Sherratt

By Yvonne Sherratt

This ebook bargains a greatly new interpretation of the paintings of Theodor Adorno. unlike the normal view that Adorno’s is in essence a severe philosophy, Yvonne Sherratt strains systematically a utopian thesis that pervades the entire significant elements of Adorno’s concept. She locations Adorno’s paintings within the context of German Idealist and later Marxist and Freudian traditions, after which analyses his key works to teach how the classy, epistemological, mental, historic, and social idea interconnect to shape a utopian image.

“It is a booklet which should be learn not just by way of students and scholars of serious concept but in addition of these drawn to Adorno who, regardless of themselves, yearn to explain the glass as being part full.” —Philosophy in Review

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18 General Introduction In combining the aesthetic with reason, Adorno offers a revised philosophy of history. On the one hand, he counters his early predecessors, Kant and Hegel, for Kant challenged reason from its own foundations and Hegel believed that historical development would generate complete rationality. Both saw the aesthetic as merely a part of the broader philosophical spectrum over which (a restricted form of) reason was sovereign. On the other hand, he generates a solution to the problems of rationality that Late Marxists and critical theorists had identified.

1951, p. x. We discuss four main points from Kant for the trajectory that leads into the Frankfurt School. This entails, of course, a great simplification of Kant’s enormous philosophical contribution and is intended to be introductory only. Note that although his overarching metaphysics was to ground philosophy in reason, it also accomodated both religion and science: Kant was a Christian and accepted the achievements of Newtonian science. See Kant, I. (1977) Was Ist Aufkl¨arung in Reiss, H. ed.

In Chapter 9 we show Adorno’s Positive dialectic of Subjectivity at the level of the structure of the self. We show how Adorno can be read to be starkly ‘traditionalist’ in advocating a conception of selfhood as a particular kind of unity. This unity is in direct opposition to narcissistic unity and moreover, 22 General Introduction counters the decline of the Subject to immature narcissism. We show here how the enlightenment Subject can be rescued from the decline into mythic subjectivity. This completes our depiction of Adorno’s Utopian image of the enlightenment Subject.

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