"Critical Models" combines into a single volume two of Adorno's most important postwar works -- "Interventions: Nine Critical Models" (1963) and "Catchwords: Critical Models II" (1969). Written after his return to Germany in 1949, the articles, essays, and radio talks included in this volume speak to the pressing political, cultural, and philosophical concerns of the postwar era. The pieces in "Critical Models" reflect the intellectually provocative as well as the practical Adorno as he addresses such issues as the dangers of ideological conformity, the fragility of democracy, educational reform, the influence of television and radio, and the aftermath of fascism.

This new edition includes an introduction by Lydia Goehr, a renowned scholar in philosophy, aesthetic theory, and musicology. Goehr illuminates Adorno's ideas as well as the intellectual, historical, and critical contexts that shaped his postwar thinking.

Shells, leafwork, picture frames, hummingbirds, wallpaper decorations, hems of clothing--such are the examples Kant's "Critique of Judgment" offers for a "free" and purely aesthetic beauty. Menninghaus's book demonstrates that all these examples refer to a widely unknown debate on the arabesque and that Kant, in displacing it, addresses genuinely "modern" phenomena. The early Romantic poetics and literature of the arabesque follow and radicalize Kant's move.
Menninghaus shows parergonality and "nonsense" to be two key features in the spread of the arabesque from architecture and the fine arts to philosophy and finally to literature. On the one hand, comparative readings of the parergon in Enlightenment aesthetics, Kant, and Schlegel reveal the importance of this term for establishing the very notion of a self-reflective work of art. On the other hand, drawing on Kant's posthumous anthropological notebooks, Menninghaus extrapolates an entire Kantian theory of what it means to produce nonsense and why the "Critique of Judgment" defines genius precisely through the power (as well as the dangers) of doing so.
Ludwig Tieck's 1797 rewriting of Charles Perrault's famous Bluebeard tale (1697) explicitly claims to be an "arabesque" book "without any sense and coherence." Menninghaus's close reading of this capricious narrative reveals a specifically Romantic--as opposed, say, to a Victorian or dadaistic--type of nonsense. Benjamin's as well as Propp's, Levi-Strauss's, and Meletinskij's oppositions of myth and fairy tale lend additional credit to a Romantic poetics that inaugurates "universal poetry" while performing a bizarre trajectory through arabesque ornament, nonsense, parergonality, and the fairy tale.

Shells, leafwork, picture frames, hummingbirds, wallpaper decorations, hems of clothing--such are the examples Kant's "Critique of Judgment" offers for a "free" and purely aesthetic beauty. Menninghaus's book demonstrates that all these examples refer to a widely unknown debate on the arabesque and that Kant, in displacing it, addresses genuinely "modern" phenomena. The early Romantic poetics and literature of the arabesque follow and radicalize Kant's move.
Menninghaus shows parergonality and "nonsense" to be two key features in the spread of the arabesque from architecture and the fine arts to philosophy and finally to literature. On the one hand, comparative readings of the parergon in Enlightenment aesthetics, Kant, and Schlegel reveal the importance of this term for establishing the very notion of a self-reflective work of art. On the other hand, drawing on Kant's posthumous anthropological notebooks, Menninghaus extrapolates an entire Kantian theory of what it means to produce nonsense and why the "Critique of Judgment" defines genius precisely through the power (as well as the dangers) of doing so.
Ludwig Tieck's 1797 rewriting of Charles Perrault's famous Bluebeard tale (1697) explicitly claims to be an "arabesque" book "without any sense and coherence." Menninghaus's close reading of this capricious narrative reveals a specifically Romantic--as opposed, say, to a Victorian or dadaistic--type of nonsense. Benjamin's as well as Propp's, Levi-Strauss's, and Meletinskij's oppositions of myth and fairy tale lend additional credit to a Romantic poetics that inaugurates "universal poetry" while performing a bizarre trajectory through arabesque ornament, nonsense, parergonality, and the fairy tale.

In this highly original interdisciplinary study incorporating close readings of literary texts and philosophical argumentation, Henry W. Pickford develops a theory of meaning and expression in art intended to counter the meaning skepticism most commonly associated with the theories of Jacques Derrida. Pickford arrives at his theory by drawing on the writings of Wittgenstein to develop and modify the insights of Tolstoy's philosophy of art. Pickford shows how Tolstoy's encounter with Schopenhauer's thought on the one hand provided support for his ethical views but on the other hand presented a problem, exemplified in the case of music, for his aesthetic theory, a problem that Tolstoy could not successfully resolve. Wittgenstein's critical appreciation of Tolstoy's thinking, however, not only recovers its viability but also constructs a formidable position within contemporary debates concerning theories of emotion, ethics, and aesthetic expression.