Though he is a pivotal thinker in Adorno's intellectual world, the closest Adorno came to an extended discussion of Kant are two lecture courses. This volume contains his lectures from the course on the Critique of Pure Reason.
This volume makes available in English for the first time the famed lectures on metaphysics by one of the founders of the Frankfurt School of Critical Theory and one of the most influential thinkers of the 20th century. It provides a unique introduction not only to metaphysics but also to Adorno's own intellectual standpoint.
This is a comprehensive collection of readings from the work of Theodor Adorno, one of the most influential German thinkers of the twentieth century. What took place in Auschwitz revokes what Adorno termed the "Western legacy of positivity,” the innermost substance of traditional philosophy. The prime task of philosophy then remains to reflect on its own failure, its own complicity in such events. Yet in linking the question of philosophy to historical occurrence, Adorno seems not to have abandoned his paradoxical, life-long hope that philosophy might not be entirely closed to the idea of redemption. He prepares for an altogether different praxis, one no longer conceived in traditionally Marxist terms but rather to be gleaned from "metaphysical experience.” In this collection, Adorno's literary executor has assembled the definitive introduction to his thinking. Its five sections anatomize the range of Adorno's concerns: "Toward a New Categorical Imperative,” "Damaged Life,” "Administered World, Reified Thought,” "Art, Memory of Suffering,” and "A Philosophy That Keeps Itself Alive.” A substantial number of Adorno’s writings included appear here in English for the first time. This collection comes with an eloquent introduction from Rolf Tiedemann, the literary executor of Adorno’s work.
The book is based on documentary and biographical materials that have only recently become available. As the narrative follows the Institute for Social Research from Frankfurt am Main to Geneva, New York, and Los Angeles, and then back to Frankfurt, Wiggershaus continually ties the evolution of the school to the changing intellectual and political contexts in which it operated.
The volume presents Handke's works from Hornissen (1966) to Das zweite Schwert (2020) in individual analyses and at the same time opens up overarching orientations of Handke's writing. The autoreflexive traces that characterise the author's experimental early work are perpetuated in a middle phase by a return to traditional forms of epic narrative and literary models that is philosophically influenced. In the late work, these approaches give rise to a comprehensive poetology of narrative that links all the texts together. In the process, previously developed motifs are condensed into overarching thematic complexes. Alongside the reality of war, the relationship between image and writing, text and film, social and media developments of modernity come to the fore. The reference of Handke's texts to images of the painterly tradition and visual strategies of his writing are given special weight. This book is a translation of the original German 1st edition Peter Handke by Rolf G. Renner, published by Springer-Verlag GmbH Germany, part of Springer Nature in 2020. The translation was done with the help of artificial intelligence (machine translation by the service DeepL.com). A subsequent human revision was done primarily in terms of content, so that the book will read stylistically differently from a conventional translation. Springer Nature works continuously to further the development of tools for the production of books and on the related technologies to support the authors.
How Russian Literature Became Great explores the cultural and political role of a modern national literature, orchestrated in a Slavonic key but resonating far beyond Russia's borders. Rolf Hellebust investigates a range of literary tendencies, philosophies, and theories from antiquity to the present: Roman jurisprudence to German Romanticism, French Enlightenment to Czech Structuralism, Herder to Hobsbawm, Samuel Johnson to Sainte-Beuve, and so on. Besides the usual Russian suspects from Pushkin to Chekhov, Hellebust includes European writers: Byron and Shelley, Goethe and Schiller, Chateaubriand and Baudelaire, Dante, Mickiewicz, and more. As elsewhere, writing in Russia advertises itself via a canon of literary monuments constituting an atemporal "ideal order among themselves" (T.S. Eliot). And yet this is a tradition that could only have been born at a specific moment in the golden nineteenth-century age of historiography and nation-building. The Russian example reveals the contradictions between immutability and innovation, universality and specificity at the heart of modern conceptions of tradition from Sainte-Beuve through Eliot and down to the present day. The conditions of its era of formation—the prominence of the crucial literary-historical question of the writer's social function, and the equation of literature with national identity—make the Russian classical tradition the epitome of a unified cultural text, with a complex narrative in which competing stories of progress and decline unfold through the symbolic biographical encounters of the authors who constitute its members. How Russian Literature Became Great thus offers a new paradigm for understanding the paradoxes of modern tradition.
Hitler and the Nazis saturated their country with many types of propaganda to convince the German citizenry that the Nazi ideology was the only ideology. One type of propaganda that the Nazis relied on heavily was cinematic. This work focuses on Nazi propaganda feature films and feature-length documentaries made in Germany between 1933 and 1945 and released to the public. Some of them were Staatsauftragsfilme, films produced by order of and financed by the Third Reich. The films are arranged by subject and then alphabetically, and complete cast and production credits are provided for each. Short biographies of actors, directors, producers, and other who were involved in the making of Nazi propaganda films are also provided.
The most important aesthetics of the century, this is a long-awaited work, the culmination of a lifetime's investigation. Among the twelve major sections are Art, Society, Aesthetics; the Categories of the Ugly, the Beautiful, the Technics; Natural Beauty; Coherence and Subject-Object; Towards a Theory of the Artwork.
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