Adorno's Theory of Philosophical and Aesthetic Truth by Owen HulattAdorno's Theory of Philosophical and Aesthetic Truth by Owen Hulatt

Adorno's Theory of Philosophical and Aesthetic Truth

byOwen Hulatt

Hardcover | September 27, 2016

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In Adorno's Theory of Philosophical and Aesthetic Truth, Owen Hulatt undertakes an original reading of Theodor W. Adorno's epistemology and its material underpinnings, deepening our understanding of his theories of truth, art, and the nonidentical. Hulatt's novel interpretation casts Adorno's theory of philosophical and aesthetic truth as substantially unified, supporting the thinker's claim that both philosophy and art are capable of being true.

For Adorno, truth is produced when rhetorical "texture" combines with cognitive "performance," leading to the breakdown of concepts that mediate the experience of the consciousness. Both philosophy and art manifest these features, although philosophy enacts these conceptual issues directly, while art does so obliquely. Hulatt builds a robust argument for Adorno's claim that concepts ineluctably misconstrue their objects. He also puts the still influential thinker into conversation with Hegel, Husserl, Frazer, Sohn-Rethel, Benjamin, Strawson, Dahlhaus, Habermas, and Caillois, among many others.

Owen Hulatt is a teaching fellow in philosophy at the University of York and editor of Aesthetic and Artistic Autonomy (2013).
Title:Adorno's Theory of Philosophical and Aesthetic TruthFormat:HardcoverDimensions:272 pagesPublished:September 27, 2016Publisher:Columbia University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0231177240

ISBN - 13:9780231177245

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Table of Contents

AcknowledgmentsIntroduction1. Models of Experience2. The Interpenetration of Concepts and Society3. Negativism and Truth4. Texture, Performativity, and Truth5. Aesthetic Truth Content and Oblique Second Reflection6. Beethoven, Proust, and Applying Adorno's Aesthetic TheoryNotesBibliographyIndex

Editorial Reviews

There is no other book that more lucidly and compellingly reconstructs the difficult relationship between epistemology and aesthetics in Adorno's work. Although Adorno vigorously dismissed systematicity, the many connections that unite his central concerns are here made manifest in ways that are likely to move the debate over his legacy substantively forward. For anyone interested in the status and fate of art in modernity, this book will be a landmark.