THEODOR ADORNO

OVERVIEW

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THEODOR ADORNO

OVERVIEW

6 THEODOR 9 FRANKFURT 10 VIENNA 14 OXFORD 18 POST WAR

THEODOR W. ADORNO Theodor W. Adorno was a German sociologist, philosopher and musicologist known for his critical theory of society. He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer and Herbert Marcuse, for whom the work of Sigmund Freud, Karl Marx and G.W.F. Hegel were essential to a critique of modern society. He is widely regarded as one of the 20th centurys foremost thinkers on aesthetics and philosophy, as well as one of its preeminent essayists. As a critic of both fascism and what he called the culture industry, his writingssuch as Dialectic of Enlightenment, Minima Moralia and Negative Dialectics strongly influenced the European New Left. Amidst the vogue enjoyed by existentialism and positivism in early 20th century Europe, Adorno advanced a dialectical conception of natural history that critiqued the twin temptations of ontology and empiricism through studies of Kierkegaard and Husserl. As a classically trained pianist whose sympathies with the twelve-tone technique of Arnold Schoenberg resulted in his studying with Alban Berg of the Second Viennese School, Adornos commitment to avant-garde music formed the backdrop of his subsequent writings and led to his collaboration with Thomas Mann on the latters novel Doctor Faustus, while the two men lived in California as exiles during the Second World War. Working for the newly relocated Institute for Social Research, Adorno collaborated on influential studies of authoritarianism, antisemitism and propaganda that would later serve as models for sociological studies the Institute carried out in post-war Germany. Upon his return to Frankfurt, Adorno was influential to the reconstitution of German intellectual life through debates with Karl Popper on the limitations of positivist science, critiques of Heideggers jargon of authenticity, writings on German responsibility for the Holocaust, and continued interventions into matters of public policy. As a writer of polemics in the tradition of Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture. Adornos posthumously published Aesthetic Theory, which he planned on dedicating to Samuel Beckett, is the culmination of a life-long commitment to modern art which attempts to revoke the fatal separation of feeling and understanding long demanded by the history of philosophy and explode the privilege aesthetics accords to content over form and contemplation over immersion.

FRANKFURT Theodor Ludwig Adorno-Wiesengrund was born in Frankfurt am Main on September 11, 1903, the only child of Oscar Alexander Wiesengrund (18701946) and Maria Calvelli-Adorno della Piana (18651952). His mother, a devout Catholic from Corscia, was once a professional singer, while his father, an assimilated Jew who had converted to Protestantism, ran a successful wine-export business. Proud of her origins, Maria wanted her sons paternal surname to be supplemented by the addition of her own name: Adorno. Thus his earliest publications carried the name Theodor Wiesengrund-Adorno; upon his application for US citizenship, his name was modified to Theodor W. Adorno. His childhood was marked by the musical life provided by his mother and aunt: Maria was a singer who could boast of having performed in Vienna at the Imperial Court, while her sister, Agathe, who lived with them, had made a name for herself as both a singer and pianist. He was not only a precocious child but, as he recalled later in life, a child prodigy who could play pieces by Beethoven on the piano by the time he was twelve. At the age of six, he attended the Deutschherren middle school before transferring to the Kaiser-Wilhelm Gymnasium, where he studied from 1913 to 1921. Prior to his graduation at the top of his class, Adorno was already swept up by the revolutionary mood of the time, as is evidenced by his reading of Georg Lukacss The Theory of the Novel that year, as well as by his fascination with Ernst Blochs The Spirit of Utopia, of which he would later write: Blochs was a philosophy that could hold its head high before the most advanced literature; a philosophy that was not calibrated to the abominable resignation of methodology I took this motif so much as my own that I do not believe I have ever written anything without reference to it, either implicit or explicit. Yet Adornos intellectual nonconformism was no less shaped by the repugnance he felt towards the nationalism which swept through the Reich during the First World War. Along with future collaborators like Walter Benjamin, Max Horkheimer, Ernst Bloch, Adorno was profoundly disillusioned by the ease with which Germanys intellectual and spiritual leadersamong them Max Weber, Max Scheler, Ernst Simmel, as well as his friend Siegfried Kracauercame out in support of the war. The younger generations distrust for traditional knowledge arose from the way in which this tradition had discredited itself. Over time, Oscar Wiesebgrunds firm established close professional and personal ties with the factory of Karplus & Herzberger in Berlin. The eldest daughter of the Karplus family, Margarete, or Gretel, moved in the intellectual circles of Berlin, where she was acquainted with Walter Benjamin, Bertolt Brecht and Ernst Bloch, each of whom Adorno would become familiar with during the mid-20s; after fourteen years, Gretel and Theodor were married in 1937. At the end of his schooldays, Adorno not only benefited from the rich concert offerings of Frankfurt - in which one could hear performances of works by Schoenberg, Schreker, Stravinsky, Bartk, Busoni, Delius and Hindemith - but also began studying music composition at the Hoch Conservatory while taking private lessons with well-respected composers Bernhard Sekles and Eduard Jung. At around the same time, he befriended Siegfried Kracauer, the Frankfurter Zeitungs literary editor, of whom he would later write: For years Kracauer read [Kants] Critique of Pure Reason with me regularly on Saturday afternoons. I am not exaggerating in the slightest when I say that I owe more to this reading than to my academic teachers Under his guidance I experienced the work from the beginning not as mere epistemology, not as an analysis of the conditions of scientifically valid judgments, but as a kind of coded text from which the historical situation of spirit could be read, with the vague expectation that in doing so one could acquire something of truth itself. Leaving gymnasium to study philosophy, psychology and sociology at Johann Wolfgang Goethe University in Frankfurt, Adorno continued his readings with Kracauer, turning now to Hegel and Kierkegaard, and began publishing concert reviews and pieces of music for distinguished journals like the Zeitschrift fr Musik, the Neue Bltter fr Kunst und Literatur and later for the Musikbltter des Anbruch. In these articles, Adorno championed avant-garde music at the same time as he critiqued the failings of musical modernity, as in the case of Stravinskys The Soldiers Tale, which he called in 1923 a dismal Bohemian prank. In these early writings, he was unequivocal in his condemnation of performances which either sought or pretended to achieve a transcendence which Adorno, in line with many intellectuals of the time, regarded as impossible: No cathedral, he wrote, can be built if no community desires one. In the summer of 1924, Adorno received his doctorate with a study of Edmund Husserl under the direction of the unorthodox neo-Kantian Hans Cornelius. Before his graduation, Adorno had already met with his most important intellectual collaborators, Max Horkheimer and Walter Benjamin. Through Corneliuss seminars, Adorno met his future collaborator Max Horkheimer, through whom he was then introduced to Friedrich Pollock.

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VIENNA, FRANKFURT, AND BERLIN

During the summer of 1924, the Viennese composer Alban Bergs Three Fragments from Wozzeck, op. 7 premiered in Frankfurt, at which time Adorno introduced himself to Berg and both agreed the young philosopher and composer would study with Berg in Vienna. Upon moving to Vienna in January 1925, Adorno immersed himself in the musical culture which had grown up around Schoenberg: in addition to his twice-weekly sessions with Berg, Adorno continued his studies on piano with Eduard Steuermann and befriended the violinist Rudolf Kolisch. In Vienna, he attended public lectures of the satirist Karl Kraus with Berg and met Lukcs, who had been living in Vienna after the failure of the Hungarian Soviet Republic. Alban Berg, the man Adorno referred to as my master and teacher, was among the most prescient of his young pupils early friends: [I am] convinced that, in the sphere of the deepest understanding of music ... you are capable of supreme achievements and will undoubtedly fulfill this promise in the shape of great philosophical works. After leaving Vienna, Adorno traveled through Italy, where he met with Kracauer, Benjamin, and the economist Alfred Sohn-Rethel, with whom he developed a lasting friendship, before returning to Frankfurt. In December 1926 Adornos Two Pieces for String Quartet, op.2 were performed in Vienna, which provided a welcome interruption from his preparations for the Habilitation. After writing the Piano Pieces in strict twelvetone technique, as well as songs later integrated into the Six Bagatelles for Voice and Piano, op. 6, Adorno presented his Habilitation manuscript, The Concept of the Unconscious in the Transcendental Theory of the Psyche, to Cornelius in November 1927. Cornelius advised Adorno to withdraw his application on the grounds that the manuscript was too close to his own way thinking. In this manuscript, Adorno attempted to underline the epistemological status of the unconscious as it emerged out of Freuds early writings. Against the function of the unconscious in both Nietzsche and Spengler, Adorno argued that Freuds notion of the unconscious serves as a sharp weapon ... against every attempt to create a metaphysics of the instincts and to deify full, organic nature. Undaunted by his academic prospects, Adorno threw himself once again into composition. In addition to publishing numerous reviews of opera performances and concerts, Adornos Four Songs for Medium Voice and Piano, op.3 was performed in Berlin in January 1929. Between 1928 and 1930 Adorno took on a greater role within the editorial committee of the Musikbltter des Anbruch. In a proposal for transforming the journal, Adorno sought to use Anbruch for championing radical modern music against what he called the stabilized music of Pfitzner, the later Strauss, as well as the neoclassicism of Stravinsky and Hindemith. During this period he published the essays Night Music, On Twelve-Tone Technique and Reaction and Progress. Yet his reservations about twelve-tone orthodoxy became steadily more pronounced: According to Adorno, twelve-tone techniques use of atonality can no more be regarded as an authoritative canon than can tonality be relied on to provide instructions for the composer. At this time, Adorno struck up a correspondence with the composer Ernst Krenek, with whom he discussed problems of atonality and twelve-tone technique. In a letter of 1934 Adorno sounded a related criticism of Schoenberg: Twelve-tone technique alone is nothing but the principle of motivic elaboration and variation, as developed in the sonata, but elevated now to a comprehensive principle of construction, namely transformed into an a priori form and, by that token, detached from the surface of the composition. At this point Adorno reversed his earlier priorities: now his musical activities came second to the development of a philosophical theory of aesthetics. Thus, in the middle of 1929 he accepted Paul Tillichs offer to present an Habilitation on Kierkegaard, which Adorno eventually submitted under the title The Construction of the Aesthetic. At the time, Kierkegaards philosophy exerted a strong influence, chiefly through its claim to pose an alternative to Idealism and Hegels philosophy of history. Yet when Adorno

turned his attention to Kierkegaard, watchwords like anxiety, inwardness and leapinstructive for existentialist philosophywere detached from their theological origins and posed, instead, as problems for aesthetics. As the work proceededand Kierkegaards overcoming of Hegels idealism is revealed to be a mere interiorization Adorno excitedly remarks in a letter to Berg that he is writing without looking over his shoulder at the faculty who would soon evaluate his work. Receiving favorable reports from Professors Tillich and Horkheimer, as well as Benjamin and Kracauer, the University conferred on Adorno the venia legendi in February 1931; on the very day his revised study was published, in March 1933, Hitler seized dictatorial powers. Several months after qualifying as a lecturer in philosophy, Adorno delivered an inaugural lecture at the Institute for Social Research, an independent organization which had recently appointed Horkheimer as its director and, with the arrival of the literary scholar Leo Lowenthal, social psychologist Erich Fromm and philosopher Herbert Marcuse, sought to exploit recent theoretical and methodological advances in the social sciences. His lecture, The Actuality of Philosophy, created a scandal. In it, Adorno not only deviated from the theoretical program Horkheimer had laid out a year earlier, but challenged philosophys very capacity for comprehending reality as such: For the mind, Adorno announced, is indeed not capable of producing or grasping the totality of the real, but it may be possible to penetrate the detail, to explode in miniature the mass of merely existing reality. In line with Benjamins The Origin of German Tragic Drama and preliminary sketches of the Arcades Project, Adorno likened philosophical interpretation to experiments which should be conducted until they arrive at figurations in which the answers are legible, while the questions themselves vanish. Having lost its position as the Queen of the Sciences, philosophy must now radically transform its approach to objects so that it might construct keys before which reality springs open. Following Horkheimers taking up the directorship of the Institute, a new journal, Zeitschrift fr Sozialforschung, was produced to publish the research of Institute members both before and after its relocation to the United States. Though Adorno was not himself an Institute member, the journal nevertheless published many of his essays, including The Social Situation of Music (1932), On Jazz (1936), On the Fetish-Character in Music and the Regression of Listening (1938) and Fragments on Wagner (1938). In his new role as social theorist, Adornos philosophical analysis of cultural phenomena heavily relied on the language of historical materialism, as concepts like reification, false consciousness and ideology came to play an ever more prominent role in his work. At the same time, however, and owing to both the presence of another prominent sociologist at the Institute, Karl Mannheim, as well as the methodological problem posed by treating objects - like musical material - as ciphers of social contradictions, Adorno was compelled to abandon any notion of value-free sociology in favor of a form of ideology critique which held on to an idea of truth. Before his emigration in autumn 1934, Adorno began work on a Singspiel based on Mark Twains The Adventures of Tom Sawyer entitled The Treasure of Indian Joe, which he would, however, never complete; by the time he fled Hitlers Germany Adorno had already written over a hundred opera or concert reviews and an additional fifty critiques of music composition. As the Nazi party became the largest party in the Reichstag Horkheimers 1932 observation proved chillingly prophetic: Only one thing is certain, he wrote, the irrationality of society has reached a point where only the gloomiest predications have any plausibility. In September Adornos right to teach was revoked; in March, as the swastika was run up the flag pole of town hall, the Institutes offices were searched by the Frankfurt criminal police. Adornos house on Seeheimer Strasse was similarly searched in July and his application for membership in the Reich Chamber of Literature was denied on the grounds that membership was limited to persons who belong to the German nation by profound ties of character and blood. As a non-Aryan, he was informed, you are unable to feel and appreciate such an obligation. Soon afterwards Adorno was forced into fifteen years of exile.

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OXFORD, LONDON, NEW YORK, LOS ANGELES After the possibility of transferring his habilitation to the University of Vienna came to nothing, Adorno considered relocating to Britain upon his fathers suggestion. With the help of the Academic Assistance Council, Adorno registered as an advanced student at Merton College, Oxford, in June 1934. During the next four years at Oxford, Adorno made repeated trips to Germany to see both his parents and Gretel, who was still working in Berlin. Under the direction of Gilbert Ryle, Adorno worked on a dialectical critique of Husserls epistemology. By this time, the Institute for Social Research had relocated to New York City and began making overtures to Adorno. After months of strained relations, Horkheimer and Adorno reestablished their essential theoretical alliance during meetings in Paris. Adorno continued writing on music, publishing The Form of the Phonograph Record and Crisis of Music Criticism with the Viennese musical journal 23, On Jazz in the Institutes Zeitschrift, Farewell to Jazz in Europischen Revue. Yet Adornos attempts to break out of the sociology of music were, at this time, twice thwarted: neither the study of Mannheim he had been working on for years nor extracts from his study of Husserl were accepted by the Zeitschrift. Impressed by Horkheimers book of aphorisms, Dawn and Decline, Adorno began working on his own book of aphorisms, what would later become Minima Moralia. While at Oxford, Adorno suffered two great losses: his Aunt Agathe died in June 1935, while Alban Berg died in December of the same year. To the end of his life, Adorno never abandoned the hope of completing Bergs unfinished Lulu. At this time, Adorno was in intense correspondence with Walter Benjamin on the subject of the latters Arcades Project. After receiving an invitation from Horkheimer to visit the Institute in New York, Adorno sailed for New York on June 9, 1937 and stayed there for two weeks. While in New York, Max Horkheimers essays The Latest Attack on Metaphysics and Traditional and Critical Theory, which would soon become instructive for the Institutes self-understanding, were the subject of intense discussion. Soon after his return to Europe, Gretel moved to Britain, where she and Adorno were married on September 8, 1937; a little over a month later, Horkheimer telegrammed from New York with news of a position Adorno could take up with the Princeton Radio Project, then under the directorship of the Austrian sociologist Paul Lazarsfeld. Yet Adornos work continued with studies of Beethoven and Richard Wagner (published in 1939 as Fragments on Wagner), drafts of which he read to Benjamin during their final meeting, in December on the Italian Riviera. According to Benjamin, these drafts were astonishing for the precision of their materialist deciphering, as well as the way in which musical facts had been made socially transparent in a way that was completely new to me. In his Wagner study, the thesis later to characterize Dialectic of Enlightenmentmans domination of naturefirst emerges. Adorno sailed for New York on February 16, 1938. Soon after settling into his new home on Riverside Drive, Adorno met with Lazarsfeld in Newark to discuss the Projects plans for investigating the impact of broadcast music. Although he was expected to embed the Projects research within a wider theoretical context, it soon became apparent that the Project was primarily concerned with data collection to be used

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by administrators for establishing whether groups of listeners could be targeted by broadcasts specifically aimed at them. Expected to make use of devices with which listeners could press a button to indicate whether they liked or disliked a particular piece of music, Adorno bristled with distaste and astonishment: I reflected that culture was simply the condition that precluded a mentality that tried to measure it. Thus Adorno suggested using individual interviews to determine listener reactions and, only three months after meeting Lasarzfeld, completed a 160page memorandum on the Projects topic, Music in Radio. Adorno was primarily interested in how the musical material was affected by its distribution through the medium of radio and thought it imperative to understand how music was affected by its becoming part of daily life. The meaning of a Beethoven symphony, he wrote, heard while the listener is walking around or lying in bed is very likely to differ from its effect in a concert-hall where people sit as if they were in church. In essays published by the Institutes Zeitschrift, Adorno dealt with that atrophy of musical culture which had become instrumental in accelerating tendencies - towards conformism, trivialization and standardization - already present in the larger culture. Unsurprisingly, Adornos studies found little resonance among members of the project. At the end of 1939, when Lazarsfeld submitted a second application for funding, the musical section of the study was duly left out. Yet during the two years during which he worked on the Project, Adorno was nevertheless prolific, publishing The Radio Sympthony, A Social Critique of Radio Music and On Popular Music, texts which, along with the draft memorandum and other unpublished writings, which are now found in Robert Hullot-Kentors recent translation, Current of Music. In light of this situation, Horkheimer soon found a permanent post for Adorno at the Institute. In addition to helping with the Zeitschrift Adorno was expected to be the Institutes liaison with Benjamin, who soon passed on to New York the study of Charles Baudelaire he hoped would serve as a model of the larger Arcades Project. In correspondence, the two men discussed the difference in their conceptions of the relationship between critique and artworks which had become manifest through Benjamins The Work of Art in the Age of its Technical Reproducibility. At around the same time Adorno and Horkheimer began planning for a joint work on dialectical logic, which would later become Dialectic of Enlightenment. Alarmed by reports from Europe, where Adornos parents suffered increasing discrimination and Benjamin was interned in Colombes, their joint study could entertain few delusions about its practical effects. In view of what is now threatening to engulf Europe, Horkheimer wrote, our present work is essentially destined to pass things down through the night that is approaching: a kind of message in a bottle As Adorno continued his work in New York with radio talks on music and a lecture on Soren Kierkegaards doctrine of love, Benjamin fled Paris and attempted to make an illegal border crossing. After learning that his Spanish visa was invalid and fearing deportation back to France, Benjamin took on overdose of morphine tablets. In light of recent events, the Institute set about formulating a theory of anti-Semitism and fascism. On one side were those who supported Franz Neumanns thesis according to

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which National Socialism was a form of monopoly capital; on the other were those who supported Fritz Pollocks state capitalist theory. Horkheimers contributions to this debate, in the form of the essays The Authoritarian State, The End of Reason and The Jews and Europe served as a foundation for what he and Adorno planned to do in their book on dialectical logic. In November 1941 Adorno followed Horkheimer to what Thomas Mann called German California, setting up house in a Pacific Palisades neighborhood of German emigres which included Bertolt Brecht and Arnold Schoenberg. Adorno arrived with a draft of his Philosophy of New Music, a dialectical critique of twelve-tone music, which Adorno himself felt, while writing, was already a departure from the theory of art he had spent the previous decades elaborating. Horkheimers reaction to the manuscript was wholly positive: If I have ever in the whole of my life felt enthusiasm about anything, then I did on this occasion, he wrote after reading the manuscript. The two set about completing their joint work, which transformed itself from a book on dialectical logic to a rewriting of the history of rationality and the Enlightenment. First published in a small mimeographed edition in May 1944 as Philosophical Fragments, the text would wait another three years before achieving book form when it was published with its definitive title, Dialectic of Enlightenment, by the Amsterdam publisher Querido Verlag. This reflection on the destructive aspect of progress proceeded through chapter which treated rationality as both the liberation from and further domination of nature, interpretations of both Homers Odyssey and the Marquis de Sade, as well as analyses of the culture industry and anti-semitism. Their joint work completed, the two turned their attention to studies on antisemitism and authoritarianism in collaboration with the Nevitt Sanford-led Public Opinion Study Group and the American Jewish Committee. In line with these studies, Adorno produced an analysis of the Californian radio preacher Martin Luther Thomas. Fascist propaganda of this sort, Adorno wrote, simply takes people for what they are: genuine children of todays standardized mass culture who have been robbed to a great extent of their autonomy and spontaneity[22] The result of these labors, the 1950 study The Authoritarian Personality was pioneering in its combination of quantitative and qualitative methods of collecting and evaluating data as well as its development of the F-scale. After the USA entered the war in 1941, the situation of the migrs, now classed enemy aliens became increasingly precarious as government measures turned from anti-Nazism to anti-communism. Forbidden from leaving their homes between 8pm and 6am and prohibited from going more than five miles from their houses, migrs like Adorno, who would not be naturalized until November 1943, were severely restricted in their movements. In addition to the aphorisms which conclude Dialectic of Enlightenment, Adorno put together a collection of aphorisms in honor of Horkheimers fifteith birthday that would later be published as Minima Moralia: Reflections from Damaged Life. These fragmentary writings, inspired by a renewed reading of Nietzsche, treated issues like emigration, totalitarianism and individuality, as well as everyday matters such as giving presents, dwelling and the impossibility of love. In California, Adorno made the acquaintance of Charlie Chaplin and became friends with Fritz Lang and Hanns Eisler, with whom he completed a study of film music in 1944. In this study, the authors pushed for the greater usage of avant-garde music in film, urging that music be used to supplement, not simply accompany, the visual aspect of films. Additionally, Adorno assisted Thomas Mann on his novel Doctor Faustus after the latter asked for his help. Would you be willing, Mann wrote, to think through with me how the work - I mean Leverkuhns work - might look; how you would do it if you were in league with the Devil?[23] At the end of October 1949, Adorno left America for Europe just as The Authoritarian Personality was being published. Before his return, Adorno had not only reached an agreement with a Tbingen publisher to print an expanded version of Philosophy of New Music, but completed two compositions: Four Songs for Voice and Piano by Stefan George, op.7, and Three Choruses for Female Voices from the Poems of Theodor Daubler, op. 8.

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POST-WAR EUROPE Upon his return, Adorno helped shape the political culture of West Germany. Until his death in 1969, twenty years after his return, Adorno contributed to the intellectual foundations of the Federal Republic, as a professor at Frankfurt University, critic of the vogue enjoyed by Heideggerian philosophy, partisan of critical sociology and teacher of music at the Darmstadt International Summer Courses for New Music. Adorno resumed his teaching duties at the university soon after his arrival, with seminars on Kants Transcendental Dialectic, aesthetics, Hegel, Contemporary Problems in the Theory of Knowledge and The Concept of Knowledge. Adornos surprise at his students passionate interest in intellectual matters did not, however, blind him to continuing problems within Germany: The literary climate was dominated by writers who had remained in Germany during Hitlers rule, the government re-employed people who had been active in the Nazi apparatus and people were generally loathe to own up to their own collaboration or the guilt they thus incurred. Instead, the ruined city of Frankfurt continued as if nothing had happened, holding on to ideas of the true, the beautiful, and the good despite the atrocities, hanging on to a culture that had itself been lost in rubble or killed off in the concentration camps. All the enthusiasm Adornos students showed for intellectual matters could not erase the suspicion that, in the words of Max Frisch, culture had become an alibi for the absence of political consciousness. Yet the foundations for what would come to be known as The Frankfurt School were soon laid: Horkheimer resumed his chair in social philosophy and the Institute for Social Research, rebuilt, became a lightning rod for critical thought. Nevertheless, in September 1951 Adorno returned to the United States for a six-week visit, during which he attended the opening of the Hacker Psychiatry Foundation in Beverly Hills, met Leo Lowenthal and Herbert Marcuse in New York and saw his mother for the last time. After stopping in Paris, where he met Daniel-Henry Kahnweiler, Michel Leiris and Rene Leibowitz, Adorno delivered a lecture entitled The Present State of Empirical Social Research in Germany at a conference on opinion research. Here he emphasized the importance of data collection and statistical evaluation while asserting that such empirical methods have only an auxiliary function and must lead to the formation of theories which would raise the harsh facts to the level of consciousness. With Horkheimer as dean of the Arts Faculty, then rector of the university, responsibilities for the Institutes work fell upon Adorno.

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At the same time, however, Adorno renewed his musical work: with talks at the Kranichsteiner Musikgeselschaft, another in connection with a production of Ernst Kreneks opera Leben des Orest, and a seminar on Criteria of New Music at the Fifth International Summer Course for New Music at Kranichstein. Adorno also became increasingly involved with the publishing house of Peter Suhrkamp, inducing the latter to publish Benjamins Berlin Childhood Around 1900, Kracauers writings and a two-volume edition of Benjamins Writings. Adornos own recently published Minima Moralia was not only well-received in the press, but met with great admiration from Thomas Mann, who wrote to Adorno from America in 1952: I have spent days attached to your book as if by a magnet. Every day brings new fascination concentrated nourishment. It is said that the companion star to Sirius, white in colour, is made of such dense material that a cubic inch of it would weigh a tonne here. This is why it has such an extremely powerful gravitational field; in this respect it is similar to your book. Yet Adorno was no less moved by other public events: protesting the publication of Heinrich Manns novel Professor Unrat with its film title, The Blue Angel; declaring his sympathy with those who protested the scandal of big-game hunting and penning a defense of prostitutes. Because Adornos American citizenship would be forfeited by the middle of 1952 if he remained outside the country, he returned once again to Santa Monica to survey his prospects at the Hacker Foundation. While there he wrote a content analysis of newspaper horoscopes (now collected in The Stars Down to Earth), the essays Television as Ideology and Prologue to Television; even so, he was pleased when, at the end of ten months, he was enjoined to return as co-director of the Institute. Back in Frankfurt, he renewed his academic duties and, from 1952 to 1954, completed the essays Notes on Kafka, Valry Proust Museum and an essay on Schoenberg following the composers death, all of which were included in the 1955 essay collection Prisms. In response to the publication of Thomas Manns The Black Swan, Adorno penned a long letter to the author, who then approved its publication in the literary journal Akzente. A second collection of essays, Notes to Literature, appeared in 1958. After meeting Samuel Beckett while delivering a series of lectures in Paris the same year, Adorno set to work on Trying to Understand Endgame, which, along with studies of Proust, Valry and Balzac, formed the central texts of the 1961 publication of the second volume of his Notes to Literature. Adornos entrance into literary discussions continued in his June 1963 lecture at the annual conference of the Hlderlin Society. At the Philosophers Conference of October 1962 in Mnster, at which Habermas wrote that Adorno was A writer among bureaucrats, Adorno presented Progress.

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Although the Zeitschrift was never revived, the Institute nevertheless published a series of important sociological books, including a collection of essays entitled Sociologica (1955), the Gruppenexperiment (1955), a study of work satisfaction among workers in Mannesmann called Betriebsklima and the Soziologische Exkurse, a textbook-like anthology intended as an introduction. Throughout the fifties and sixties, Adorno became a public figure, not simply through his books and essays, but also through his appearances in radio and newspapers. In talks, interviews and round-table discussions broadcast on Hessen Radio, South-West Radio and Radio Bremen, Adorno discussed topics as diverse as The Administered World (September 1950), What is the Meaning of Working Through the Past? (February 1960) to The Teaching Profession and its Taboos (August 1965). Additionally, he frequently wrote for Frankfurter Allgemeine, Frankfurter Rundschau and the weekly Die Zeit. At the invitation of Wolfgang Steinecke, Adorno took part in the Darmstadt Summer Courses for New Music in Kranichstein from 1951 to 1958. Yet conflicts between the so-called Darmstadt school, which included composers like Pierre Boulez, Karlheinz Stockhausen, Karel Goeyvaerts, Luciano Berio and Gottfried Michael Koenig, soon arose, receiving explicit expression in Adornos 1954 lecture, The Aging of the New Music, where he argued that atonalitys freedom was being restricted to serialism in much the same way as it was once restricted by twelve-tone technique. With his friend Eduard Steuermann, Adorno feared that music was being sacrificed to stubborn rationalization. During this time Adorno not only produced a significant series of notes on Beethoven (which was never completed and only published posthumously), but also published Mahler: A Musical Physiognomy in 1960. In his 1961 return to Kranichstein, Adorno called for what he termed a musique informelle, which would possess the ability really and truly to be what it is, without the ideological pretense of being something else. Or rather, to admit frankly the fact of non-identity and to follow through its logic to the end. At the same time Adorno struck up relationships with contemporary German-language poets like Paul Celan and Ingeborg Bachmann. Adornos 1949 dictumTo write poetry after Auschwitz is barbaricposed the question of what German culture could mean after Auschwitz; his own continual revision of this dictumin Negative Dialectics, for example, he wrote that Perennial suffering has as much right to expression as a tortured man has to scream; while in 1962s Commitment, he wrote that the dictum expresses in negative form the impulse which inspires committed literaturewas part of post-war Germanys struggle with history and culture. Adorno additionally befriended the writer and poet Hans Magnus Enzensberger as well as the film-maker Alexander Kluge. In 1963, Adorno was elected to the post of chairman of the German Sociological Society, where he presided over two important conferences: in 1964, on Max Weber and Sociology and in 1968 on Late Capitalism or Industrial Society. A debate launched in 1961 by Adorno and Karl Popper, later published as the Positivist Dispute in German Sociology, arose out of disagreements at the 1959 14th German Sociology Conference in Berlin. Adornos critique of the dominant climate of post-war Germany was also directed against the pathos that had grown up around Heideggerianism, as practiced by writers like Karl Jaspers and Otto Friedrich Bollow, and which had since seeped into public discourse. His 1964 publication of The Jargon of Authenticity took aim at the halo such writers had attached to words like angst, decision and leap. After seven years of work, Adorno completed Negative Dialectics in 1966, after which, during the summer semester of 1967 and the winter semester of 1967-8, he offered regular philosophy seminars to discuss the book chapter by chapter. Among the students at these seminars were the Americans Angela Davis and Irving Wohlfarth. One objection which would soon take on ever greater importance, was that critical thought must adopt the standpoint of the oppressed, to which Adorno replied that negative dialectics was concerned with the dissolution of standpoint thinking itself. At the time of Negative Dialectics publication, the fragility of West German democracy led to the increasing radicalization of students. Monopolistic trends in the media, an educational crisis in the universities, the Shah of Persias 1967 state visit, German support for the war in Vietnam and the emergency laws combined to create a highly unstable situation. Like many of his students, Adorno too opposed the emergency laws, as well as the war in Vietnam, which, he said, proved the continued existence of the world of torture that had begun in Auschwitz The situation only deteriorated with the police shooting of Benno Ohnesorg at a protest against the Shahs visit. This death, as well as the subsequent acquittal of the responsible officer, were both commented upon in Adornos lectures. As politicization increased, rifts developed within both the Institutes relationship with its students as well as within the Institute itself. Soon Adorno himself would become an object of the students ire. At the invitation of Peter Szondi, Adorno was invited to the Free University of Berlin to give a lecture on Goethes Iphigenie in Tauris. After a group of students marched to the lectern, unfurling a banner that read Berlins left-wing fascists greet Teddy the Classicist, a number of those present left the lecture in protest after Adorno refused to abandon his talk in favor of discussing his attitude on the current political situation. Adorno shortly thereafter participated in a friendly and productive meeting with the Berlin Sozialistischer Deutscher Studentenbund (SDS) and discussed Student Unrest with Szondi on West German Radio. But as 1968 progressed, Adorno became increasingly critical of the students disruptions to university life. His isolation was only compounded by articles published in the magazine alternative, which, following the lead of Hannah Arendts articles in Merkur, claimed Adorno had subjected Benjamin to pressure during his years of exile in Berlin and compiled Benjamins Writings and Letters with a great deal of bias. In response, Benjamins longtime friend Gershom Scholem, wrote to the editor of Merkur to express his disapproval of the in part, shameful, not to say disgraceful remarks by Arendt.

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Relations between students and the West German state continued deteriorating. In spring 1968, a prominent SDS spokesman, Rudi Dutschke, was gunned down in the streets; in response, massive demonstrations took place, directed in particular against the Springer Press, which had led a campaign to vilify the students. An open appeal published in Die Zeit, signed by Adorno, called for an inquiry into the social reasons that gave rise to this assassination attempt as well as an investigation into the Springer Press manipulation of public opinion. At the same time, however, Adorno protested against disruptions of his own lectures and refused to express his solidarity with their political goals, maintaining instead his autonomy as a theoretician. Adorno rejected the so-called unity of theory and praxis advocated by the students and argued that the students actions were premised upon a mistaken analysis of the situation. The building of barricades, he wrote to Marcuse, is ridiculous against those who administer the bomb. In September 1968 Adorno went to Vienna for the publication of Alban Berg: Master of the Smallest Link. Upon his return to Frankfurt, events prevented his concentrating upon the book on aesthetics he wished to write: Valid student claims and dubious actions, he wrote to Marcuse, are all so mixed up together that all productive work and even sensible thought are scarcely possibly any more. After striking students threatened to strip the Institutes sociology seminar rooms of their furnishings and equipment, the police were brought in to close the building. Adorno began writing an introduction to a collection of poetry by Rudolf Borchardt, which was connected with a talk entitled Charmed Language, delivered in Zurich, followed by a talk on aesthetics in Paris where he met Beckett again. Beginning in October 1966, Adorno took up work on Aesthetic Theory. In June 1969 he completed Catchwords: Critical Models. During the winter semester of 1968-9 Adorno was on sabbatical leave from the university and thus able to dedicate himself to the completion of his book of aesthetics. For the summer semester Adorno planned a lecture course entitled An Introduction to Dialectical Thinking, as well as a seminar on the dialectics of subject and object. But at the first lecture Adornos attempt to open up the lecture and invite questions whenever they arose degenerated into a disruption from which he quickly fled: after a student wrote on the blackboard If Adorno is left in peace, capitalism will never cease, three women students approached the lectern, bared their breasts and scattered flower petals over his head. Yet Adorno continued to resist blanket condemnations of the protest movement which would have only strengthened the reactionary thesis according to which political irrationalism was the result of Adornos teaching. After further disruptions to his lectures, Adorno canceled the lectures for the rest of the seminar, continuing only with his philosophy seminar. In the summer of 1969, weary from these activities, Adorno returned once again to Zermatt, Switzerland, at the foot of Matterhorn to restore his strength. On August 6 he died of a heart attack.

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