Understanding Adorno, Understanding Modernism

Series Preface
Notes on Contributors

Introduction: Understanding Adorno, Understanding Modernism
Robin Truth Goodman

Section 1: Adorno's Keywords
1 Adorno and Beyond: The Modern as Critique of Modernism
Max Paddison, Durham University, UK
2 Under the Skin of Modernity: The Subcutaneous
Brigit Antonia Hofstaetter, Stockholm University, Sweden
3 Mimesis Unto Death
Robin Truth Goodman, Florida State University, USA

Section 2: Adorno's Aesthetics
4 Adorno on Vinyl
Jeffrey R. Di Leo, University of Houston-Victoria, USA
5 Critique, Complexity, Content: Adorno and Musical Modernism since 1970
Larson Powell, University of Missouri-Kansas City, USA
6 Between the Culture Industry and Art: Adorno's Approach to Film
Stefanie Baumann, University is New University of Lisbon, Portugal
7 How It Is (after Auschwitz): Adorno and Beckett
Jean-Michel Rabate, University of Pennsylvania, USA
8 Thinking Through and Beyond Modernism: Adorno and Contemporary Performance
Sabine Wilke, University of Washington, USA
9 Re-Reading Adorno's Reading of Eichendorff in the Context of 1957
Christian P. Weber, Florida State University, USA
10 Adorno and the Ethics of Camp
Heidi Schlipphacke, University of Illinois at Chicago, USA

Section 3: Adorno's Constellations
11 Art and Animals in Adorno
Camilla Flodin, Uppsala University, Sweden
12 The Art of Dehumanization: Adorno's Animals
Natalie Lozinski-Veach, University of West Georgia, USA
13 Social Labor and the Work of Art, According to Adorno
Ulrich Plass, Wesleyan University, USA
14 Conspiracy Against Theory: Super-Agents, Conspirators, and the Educational Legacies of Positivism
Kenneth J. Saltman, University of Illinois at Chicago, USA
15 Aspects of Adorno's Critical Theory of Culture
Stefan Mueller-Doohm, University of Oldenburg, Germany
Trans. Daniel Steuer

Acknowledgments
Index