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The Culture Industry: Selected Essays on Mass Culture (Routledge Classics) download epub

by J. M. Bernstein,Theodor W Adorno


Epub Book: 1977 kb. | Fb2 Book: 1804 kb.

The Culture Industry' is an unrivalled indictment of the banality of mass culture. The essay on Freetime is worth the price of the book alone

The Culture Industry' is an unrivalled indictment of the banality of mass culture. Theodor W. Adorno (1903-69). One of the towering intellectual figures of the twentieth century, he was a leading member of the influential group of critical theorists known as the Frankfurt School. His works include 'Aesthectic Theory', 'Mahler', 'The Jargon of Authenticity' and 'Negative Dialectics'. The essay on Freetime is worth the price of the book alone. I loved this collection of essays at times it can drift into that French style of academic post modern writing, as in, this book is itself reflected unto its self look back at itself thinking about tomorrow, type thing, but not as intense.

The Culture Industry is an unrivalled indictment of the banality of mass culture. Adorno expounds what may be called a new philosophy of consciousness

The Culture Industry is an unrivalled indictment of the banality of mass culture. A volume of Adorno's essays is equivalent to a whole shelf of books on literature. Adorno expounds what may be called a new philosophy of consciousness

2 The Schema of Mass Culture. 3 Culture Industry Reconsidered

2 The Schema of Mass Culture. 3 Culture Industry Reconsidered. 4 Culture and Administration. This collection of Adorno’s provocative and disturb-ing essays on The Culture Industry will introduce his thinking to a wide readership. The introduction by J. M. Bernstein shows that Adorno’s voice is potentially the greatest challenge to the debate over postmodern-ity, exposing its social and political collusions. First published in Routledge Classics 2001 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001.

The Culture Industry book. The Culture Industry is an unrivalled indictment of the banality of mass culture.

Home Browse Books Book details, The Culture Industry: Selected Essays on Mass. It is out of this background that the great critic Theodor Adorno emerged. Publisher: Routledge. Place of publication: London. Publication year: 2001. The Culture Industry: Selected Essays on Mass Culture. By Theodor W. Adorno, J. Bernstein. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking.

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The Culture Industry is an unrivalled indictment of the banality of mass . Adorno is the progenitor of critical theory, a central figure in aesthetics, and the century's foremost philosopher of music. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. He was born and educated in Frankfurt, Germany. After completing his P. in philosophy, he went to Vienna, where he studied composition with Alban Berg.

The Culture Industry ‘Adorno expounds what may be called a new philosophy of consciousness. Bernstein shows that Adorno’s voice is potentially the greatest challenge to the debate over postmodernity, exposing its social and political collusions. His philosophy lives, dangerously but also fruitfully, in proximity to an ascetic puritanical moral rage, an attachment to some items in the structure and vocabulary of Marxism, and a feeling that human suffering is the only important thing and makes nonsense of everything else. Adorno is a political thinker who wishes to bring about radical change. Gillian Rose, author of Love’s Work.

The Culture Industry: Selected Essays on Mass Culture Adorno Theodor Wiesengrund, Bernstein J. Taylor&Francis 9780415253802 : This book is an unrivalled indictment of the banality of mass . Поставляется из: Англии Описание: This book is an unrivalled indictment of the banality of mass culture - Adorno& finest essays are collected here, offering the reader unparalleled insights into Adorno& thoughts on culture.

He argued that the culture industry commodified and standardized all art. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century.

The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

Comments: (7)

Mopimicr
After an introduction that is both stultifying and adds little to the content to come, the book settles into Adorno's prose. (Also annoying is that the dates of the essays' original publications are not given; only their printings in edited editions are offered.) It is this that makes the book so difficult to rate because, while Adorno's theories are at once based on hysterical, fever-swamp constructions and assumptions that he often states as facts (rather than fallible premises), his logic and writing is quite incisive and insightful, *were* one to accept the assumptions upon which they were based. From the perspective of formal logic, his conclusions (logically) follow from his premises, no matter how fanciful (or irresponsible) those premises may be.

As such, one might even call his arguments "rational," after a fashion, though I am less certain of this because the endeavor seems, ultimately, to be an exercise in teleology. That is, it is (abundantly) clear that Adorno hates Western culture (the locus of the eponymous "culture industry"), capitalism (which he confusingly misidentifies as "monopoly" capitalism), anything that might make the prols more comfortable and, therefor, inconveniently less "revolutionary" and radical, and a whole litany of other things besides. So it seems he *chooses* his foundation assumptions with care, so that he can extend them to their ultimate telos: a trenchant critique on all things cultural and Western. He trusts, with good reason, that given the right fodder, his formidable intellect will transport him to his ends, so long as he's selected the right points of departure. And so he chooses his assumptions not so much because of their empirical validity (which he denigrates anyway), their objective Truth (per, say, Popper) or even their social validity, but rather as the fuel for his engine of hatred for what he sees about him (although he has a particular loathing for the fascists, notwithstanding his own totalitarian inclinations, they are by no means the sole or even primary target for this particular set of critiques).

As such, as the source of so much pre-determined and thus unreasoning-reason, his perspectives provide great insight into the contemporary Progressive movement and the adherents hitherto. Educated, erudite, and (radically) unhinged not by madness but by choice. Given the Frankfurt School's ongoing (though often unacknowledged and/or unknown) influence on the latter's thoughts and perspectives, the book's essays are every bit as relevant as when they were written.

But while reading this provides some great insight and, indeed, food for thought, one must ultimately wonder: given the outcome, is the effort really worth the candle?
Mezilabar
The essay on Freetime is worth the price of the book alone. I loved this collection of essays at times it can drift into that French style of academic post modern writing , as in , this book is itself reflected unto its self look back at itself thinking about tomorrow , type thing , but not as intense. Great if your interested in the study of society glad I bought this book , due another read in fact . Enjoy.
Samardenob
Amazing book. Prompt service.
Nalaylewe
What can you say about a guy who thought Walt Disney was the most dangerous man in the United States? Gotta love Theodor Adorno. As a philosophy major, I find his work fascinating. He's one of the reasons (just one) that I don't have a television and I can't stand network or cable television. There is a Culture Industry out there, and (if you've studied Karl Marx, as have I) you know that governments and power structures spawn their own ideologies, and they play 24/7 on television broadcasts. Seriously, one reason I hate going to the doctor's office (just one) is the television set mounted over the waiting room. Free yourself and free your minds. Read Adorno. And throw your television set out the window. (Or, I should say, recycle it responsibly).
Burking
Small print. Beware.
Togar
Profoundly lucid, sometimes ascorbic and always thorough. I suggest anyone who is wondering whether the music industry is killing music must read Callahan's "The Trouble With Music" and "The Culture Industry"!
Ienekan
Theodore Adorno's book The Culture Industry is wide-ranging, predictably difficult, and of uneven interest and quality across the nine thematically related essays that constitute its chapters. As with Horkheimer and Adorno's Dialectic of Enlightenment, those who have read Horkehimer's Eclipse of Reason will be better able than others to come close to taking the full measure of The Culture Industry. The gains in accessibility and concentration will not be as substantial with The Culture Industry, but though Adorno does not explicitly invoke Horkheimer's concepts of subjective reason (means-ends relationships) and objective reason (the intrinsic merit of things in themselves), they are implicit and of critical importance throughout much of the book. They correspond closely to the well-known distinction between exchange value and use value. Thus their pertinence in work written by scholars heavily influenced by Marx is no surprise.

One of the difficulties with The Culture Industry is that Adorno uses the concept culture in a variety of different ways. This variability is not uncommon among philosophers and social scientists who write about culture, but even though the inconsistency does not provoke confusion to the point of making The Culture Industry unintepretable, it is sometimes annoying, generating needless uncertainty in an already difficult book. I understand, however, that when gathering together material written at different times concerning a variety of loosely related topics concerning the same broadly over-arching theme, errors of this kind may be difficult to completely avoid.

In addition, however, Adorno, without explicit acknowledgement, takes the word culture to mean different things depending on the analytical context in which he is engaged. High culture and autonomous culture refer to works of art and architecture whose production is not dependent on a broad-based audience for justification and financing. The concept autonomous culture, however, may be misleading if we take it to mean reliant only on the artist or architect who conceives it and follows through with execution. Architecture, especially, may be autonomous of mass interest but heavily dependent on wealthy individuals and organizations eager to exert aesthetic and practical influence. Mass culture, on the other hand, is produced only if it is manifest in what is sometimes characterized as low-brow art, things such as paperback-rack literature and formulaic films that require a large consumer base.

Given the foregoing distinction, I think one of the limitations of The Culture Industry is that judgments as to the ostensible quality of cultural phenomena are in danger of being based on distinctions between their likely audiences and supporters. This seems clearly to discount objective reason in the evaluation of cultural material and practices.

Of greatest interest, given the nature of his book, is Adorno's use of the concept culture to refer to what today is often termed material practice, ways of engaging the world so that, for better or worse, it is understandable and navigable. The Culture Industry, as understood by Adorno, consists largely of a collection countless taken-for-granted preconceptions, suppositions, psychological defense mechanisms, and unwittingly routinized ways of doing things that assure that culture will prevent those imbued with it from surpassing limits set by the status quo. Culture in this stultifying form, with rare departures from things as they are, subsumes the other uses of the concept, providing a reactionary and creatively deadening set of circumstances that works to the advantage of Big Capital. The rest of us are bound by ideas, emotions, activities, and performances that reproduce what already exists.

For the most part, The Culture Industry is written at a very high level of abstraction, often leaving the reader to contrive his or her own instructive examples. For this reason, I found Paul Willis' 1977 book Learning to Labor an invaluable resource. As an ethnographic account of an anti-authoritarian peer group in a British comprehensive school, the primary virtue of Willis' brilliant book is in showing us that, though the peer group and its members take pride in their artful distinctiveness and opositional nature, they are just as thoroughly entrapped in the social and political status quo as their more compliant age-mates. In fact, the seemingly distinctive nature of their material practice assures that they will fit the same occupational roles as their fathers, buttressing the capital-intensive industrial status quo. One wonders what they are doing now that globalization has moved their shop floor to a low-wage third world country. After all, the forms of rebelliousness they manifested were quite conventional and only obliquely political. Anyone who expects people socialized in this way to make a revolution or strike a spark of creativity that dramatically improves their diminished circumstances is in for a long wait.

The Culture Industry, whether referring to art, mass communications, education, the organization of the workplace, or any other setting or activity stifles the sort of innovations that would engender freedom and unfetter creative departures from existing ways of doing things. Though Adorno doesn't put it in this way, when subjective reason in pursuit of dollar-valued production through use of proletarianized labor came to determine the character of the social forces that provide the context for our lives, The Culture Industry became inevitable. It is an essential, inescapable, even if unnoticed and consciously unplanned determinant of banal everyday reality in a capitalist social system.

The Culture Industry is a very insightful and informative book, but I don't think that anyone would characterize Adorno's prose, translated from German, as elegant, streamlined, or particularly accessible. In addition, "On the Fetish Character of Music and the Regression of Listening" was a poorly chosen essay to serve as the first chapter. By presupposing substantial technical knowledge of music, it hardly serves as a suitable invitation to continue with a difficult text.

I'm glad I took the time to read The Culture Industry, and if Adorno were still alive I'd be very interested his take on the internet. As far as I can tell, it further solidifies the penetration and hold of Big Capital and dramatically facilitates this process on a world scale. Social media are readily absorbed into The Culture Industry, leaving Big Capital in control, giving pride of place to subjective reason and exchange value, and mystifying us all with the appearance of liberating change, chimerical though it is. Marx's base/superstructure model is often used in a grossly over-simplified way, but it remains powerfully suggestive, as is evident from reading The Culture Industry. There seems no way to exhaust the timeliness of Marx, a social science genius if there ever was.
The Culture Industry: Selected Essays on Mass Culture (Routledge Classics) download epub
Humanities
Author: J. M. Bernstein,Theodor W Adorno
ISBN: 0415255341
Category: Other
Subcategory: Humanities
Language: English
Publisher: Routledge; 1 edition (June 27, 2001)
Pages: 192 pages