By Simon Jarvis
Jarvis deals an creation to the highbrow and institutional contexts for Adorno's suggestion, and examines his contributions to social thought, cultural concept, aesthetics and philosophy. He demonstrates the iconic coherence and explanatory energy 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
Come into view. Tlw existing concept is so infamous because it betrays the b s t there is, the potential for an agreement between people and tlungs, to an interchange behwxn subaccording to the requirements of subpchve reason. '< Whether it is at all possible to escape from idealism, on the other hand, is a question the answer to which Adorno by no means takes for granted, since on his own account such an escape cannot be effected by an act of will, but would itself be bound up with the possibility of a change in our natural-historical experience.
A closer look at two particular passages may indicate something of its impact on the book's rhetorical organization. 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.
Chapter 6 below). Mimesis, a cognitive attempt to be like the object, is thus progressively replaced by identification, thought‘s attempt to subsume and dasslfy the object. Mimesis is subsequently confined to the realm of art, and thought which does not turn itself into classificatory identification is reproached with being no better than a fiction. Nothing remains sacred, so that everything can be worked on, consumed, and exchanged. ’? This domination of nature, however, is not a socially innocent resource.