Robert Hullot-Kentor
Biographic Data
| ID | 278998 |
|---|---|
| NAME | Robert Hullot-Kentor |
| GIVEN NAMES | Robert |
| FAMILY NAME | Hullot-Kentor |
| SIGNATURE | HULLOT-KENTOR R |
| AFFILIATIONS | Southampton College |
| VERIFIED | No |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 23 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
A Commentary on Samuel Beckett’s What Where
Aesthetic form is a figure moving through a rain storm, an image perhaps from Susanne Langer, one illuminatingly apposite to Theodor W. Adorno’s concept of form, drawn from the idea of determinate negation—though Adorno never would have provided so open-handed an image. But Langer and Adorno’s thinking in any case derives ensemble from what is a secret to no one who has ever thought about it, as is easily documented in a pinch by thousands of yea…
Moishe Postone y el ensayo como formaCuando muchos de los que hoy estamos aquí hablamos sobre Moishe -la primavera pasada-, Marty Jay y Cathy Gallagher estaban en New York de visita y manteníamos esta…
Cuando muchos de los que hoy estamos aquí hablamos sobre Moishe -la primavera pasada-, Marty Jay y Cathy Gallagher estaban en New York de visita y manteníamos esta discusión sólo entre nosotros cuando le pregunté a Cathy qué había convertido a Moishe en alguien tan adorable. Ella ya había pensado en esto, estoy seguro, porque un instante más tarde, para saber lo que había dicho, tuveque pensar en lo que acababa de escuchar: "bueno, él estaba tan …
Moishe Postone and the Essay as Form
Philosophy of New Music
In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among …
Back to Adorno” thirty years later: A discussion
Metric of Rebarbarization
“The essay as form,” Adorno (1984: 160) writes in The Authoritarian Personality, seeks to understand concepts as they “are already unconsciously named in language.” This is not exactly philology since it is only in pressing the given meanings further than their given sense that they can be grasped reflectively. The intention, then, in this essay, written between November 9, 2016, and November 9, 2017, is to enunciate what authoritarianism has com…
In Exactly What Sense the Culture Industry No Longer Exists
Things Beyond Resemblance: Collected Essays on Theodor W. Adorno
W. Adorno's The Idea of Natural-HistoryThe Idea of Natural-History, Theodor W. AdornoIndex
The Cambridge Companion to Critical Theory
Unforgiving Art, Unforgivable Nations
Truth and Justification
The Cambridge Companion to Adorno
The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903–69) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. An accomplished musician, Adorno first focused on the theory of culture and art. Later he turned to the problem of the self-defeating dialectic of modern reason and freedom. In this collection of essays, imbued with the most up-to-date research, a distinguishe…
Adorno without Quotation
Technology: What Is Mechanical Reproduction?
Right Listening and a New Type of Human Being
Image and Chatter: Adorno's Construction of Kierkegaard
Notes on Dialectic of Enlightenment: Translating the Odysseus Essay
Though there are no instruments to confirm it, no selection of writings to be polled, anyone rummaging around in the social sensorium for the idea of Adorno the pessimistic philosopher, fixated on Auschwitz, will find that it has vanished. Its disappearance was not the result of compelling disquisition; argument is, in an)y case, unable to transform opinion of this sort. Rather, Adorno can no longer be accused of being hindbound because the )year…
Odysseus or Myth and Enlightenment
Just as the episode of the Sirens contains the entwninement of myth and rational labor, the Odyssey as a whole bears witness to the dialectic of enlightenment. Especially in its most ancient stratum, the epic proves to be bound to myth: the adventures have their origin in popular tradition. However, by appropriating the myths, by organizing them, the Homeric spirit opposes them. The habitual equation of epic and myth, which has been challenged by…
Theory of the Future
It is easy to sympathize with the contemporary urge to be post something. But if the affix is to have historical cogency, it must be restricted to: Post Late-Capitalism. We are back to that beginning, where the pristine blossoms with a stale exhalation. This is why the conference question — “Does Critical Theory Have A Future?” — seems so weirdly chipper: as if the Future were straight ahead and doubt overshadows just this one paper boat — Critic…
Suggested Reading: Jameson on Adorno
Fredric Jameson Late Marxism: Adorno, the Persistance of the Dialectic (London: Verso, 1990), 270 pp. + x
The Impossibility of Music: Adorno, Popular and Other Music
The riddle of the sphinx has become: What are absolutely identical, but have nothing in common? New riddle, new punishment: Those who cannot answer, or do not even notice they have been asked, must go to the movies every weekend and listen in between to the radio, forever; it is all the same whether they end up at museums, symphony halls, or new music festivals. This punishment is no dilution of the sphinx's classical punitive prerogatives. Its l…
From Uplift to Gadgetry: Barbiero, Eno and New Age Music
It is one thing to call for manning the barricades against Habermas and Derrida. Their sensate lives only remotely shadow their public, and more real, comic book existences. Frame to frame, they inevitably reemerge unscathed from their trials, whether by water, fire, whatever. And people like Stanley Fish — whom Eliade would need to catalogue — actually multiply and flourish the more that is brought down on their heads. But, as to the petty crimi…
Back to Adorno
The only legitimate "back to" is one that calls for a return to what was never reached in the first place, which is the case with Adorno's work. In America, his life work was (to take Merwin's phrase) born into a bottle. While this bottle may be about to burst, to date every conceivable reason has contributed to the delay in his work being better known here - from the unfamiliarity of the idealist tradition to the decline of Marxism. Not least in…
"Popular Music and Adorno's "The Aging of the New Music
It would be more true to say that people must smile at Adorno's bombast. Whenever Adorno's name comes up in the discussion of music, people cannot stop smiling: “He didn't like jazz did he?” The smile asserts itself by acquiescing; it is itself popular: dressed up as an individual, it is in fact stereotypical. Laughing about Adorno and jazz, people finally seem to be themselves. Aside from the platitude that Adorno was an intransigent critic of p…
Back to Adorno
The only legitimate "back to" is one that calls for a return to what was never reached in the first place, which is the case with Adorno's work. In America, his life work was (to take Merwin's phrase) born into a bottle. While this bottle may be about to burst, to date every conceivable reason has contributed to the delay in his work being better known here - from the unfamiliarity of the idealist tradition to the decline of Marxism. Not least in…
Truth and Justification
"Popular Music and Adorno's "The Aging of the New Music
It would be more true to say that people must smile at Adorno's bombast. Whenever Adorno's name comes up in the discussion of music, people cannot stop smiling: “He didn't like jazz did he?” The smile asserts itself by acquiescing; it is itself popular: dressed up as an individual, it is in fact stereotypical. Laughing about Adorno and jazz, people finally seem to be themselves. Aside from the platitude that Adorno was an intransigent critic of p…
From Uplift to Gadgetry: Barbiero, Eno and New Age Music
It is one thing to call for manning the barricades against Habermas and Derrida. Their sensate lives only remotely shadow their public, and more real, comic book existences. Frame to frame, they inevitably reemerge unscathed from their trials, whether by water, fire, whatever. And people like Stanley Fish — whom Eliade would need to catalogue — actually multiply and flourish the more that is brought down on their heads. But, as to the petty crimi…
Back to Adorno
The only legitimate "back to" is one that calls for a return to what was never reached in the first place, which is the case with Adorno's work. In America, his life work was (to take Merwin's phrase) born into a bottle. While this bottle may be about to burst, to date every conceivable reason has contributed to the delay in his work being better known here - from the unfamiliarity of the idealist tradition to the decline of Marxism. Not least in…
Theory of the Future
It is easy to sympathize with the contemporary urge to be post something. But if the affix is to have historical cogency, it must be restricted to: Post Late-Capitalism. We are back to that beginning, where the pristine blossoms with a stale exhalation. This is why the conference question — “Does Critical Theory Have A Future?” — seems so weirdly chipper: as if the Future were straight ahead and doubt overshadows just this one paper boat — Critic…
Suggested Reading: Jameson on Adorno
Fredric Jameson Late Marxism: Adorno, the Persistance of the Dialectic (London: Verso, 1990), 270 pp. + x
The Impossibility of Music: Adorno, Popular and Other Music
The riddle of the sphinx has become: What are absolutely identical, but have nothing in common? New riddle, new punishment: Those who cannot answer, or do not even notice they have been asked, must go to the movies every weekend and listen in between to the radio, forever; it is all the same whether they end up at museums, symphony halls, or new music festivals. This punishment is no dilution of the sphinx's classical punitive prerogatives. Its l…
Image and Chatter: Adorno's Construction of Kierkegaard
Notes on Dialectic of Enlightenment: Translating the Odysseus Essay
Though there are no instruments to confirm it, no selection of writings to be polled, anyone rummaging around in the social sensorium for the idea of Adorno the pessimistic philosopher, fixated on Auschwitz, will find that it has vanished. Its disappearance was not the result of compelling disquisition; argument is, in an)y case, unable to transform opinion of this sort. Rather, Adorno can no longer be accused of being hindbound because the )year…
Odysseus or Myth and Enlightenment
Just as the episode of the Sirens contains the entwninement of myth and rational labor, the Odyssey as a whole bears witness to the dialectic of enlightenment. Especially in its most ancient stratum, the epic proves to be bound to myth: the adventures have their origin in popular tradition. However, by appropriating the myths, by organizing them, the Homeric spirit opposes them. The habitual equation of epic and myth, which has been challenged by…
Technology: What Is Mechanical Reproduction?
Right Listening and a New Type of Human Being
The Cambridge Companion to Adorno
The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903–69) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. An accomplished musician, Adorno first focused on the theory of culture and art. Later he turned to the problem of the self-defeating dialectic of modern reason and freedom. In this collection of essays, imbued with the most up-to-date research, a distinguishe…
Adorno without Quotation
Truth and Justification
Things Beyond Resemblance: Collected Essays on Theodor W. Adorno
W. Adorno's The Idea of Natural-HistoryThe Idea of Natural-History, Theodor W. AdornoIndex
The Cambridge Companion to Critical Theory
Unforgiving Art, Unforgivable Nations
In Exactly What Sense the Culture Industry No Longer Exists
Back to Adorno” thirty years later: A discussion
Metric of Rebarbarization
“The essay as form,” Adorno (1984: 160) writes in The Authoritarian Personality, seeks to understand concepts as they “are already unconsciously named in language.” This is not exactly philology since it is only in pressing the given meanings further than their given sense that they can be grasped reflectively. The intention, then, in this essay, written between November 9, 2016, and November 9, 2017, is to enunciate what authoritarianism has com…
Moishe Postone and the Essay as Form
Philosophy of New Music
In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among …
A Commentary on Samuel Beckett’s What Where
Aesthetic form is a figure moving through a rain storm, an image perhaps from Susanne Langer, one illuminatingly apposite to Theodor W. Adorno’s concept of form, drawn from the idea of determinate negation—though Adorno never would have provided so open-handed an image. But Langer and Adorno’s thinking in any case derives ensemble from what is a secret to no one who has ever thought about it, as is easily documented in a pinch by thousands of yea…
Moishe Postone y el ensayo como formaCuando muchos de los que hoy estamos aquí hablamos sobre Moishe -la primavera pasada-, Marty Jay y Cathy Gallagher estaban en New York de visita y manteníamos esta…
Cuando muchos de los que hoy estamos aquí hablamos sobre Moishe -la primavera pasada-, Marty Jay y Cathy Gallagher estaban en New York de visita y manteníamos esta discusión sólo entre nosotros cuando le pregunté a Cathy qué había convertido a Moishe en alguien tan adorable. Ella ya había pensado en esto, estoy seguro, porque un instante más tarde, para saber lo que había dicho, tuveque pensar en lo que acababa de escuchar: "bueno, él estaba tan …
Art (13 works) · Philosophy (13 works) · Epistemology (10 works) · Computer Science (9 works) · History (9 works) · Art history (8 works) · Literature (8 works) · Philosophy (8 works) · Aesthetics (7 works) · Critical Theory and Philosophy (7 works)