Dialectic of Enlightenment

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Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.

出版者:Stanford University Press
作者:Max Horkheimer
出品人:
頁數:304
译者:Edmund Jephcott
出版時間:2007-3-13
價格:USD 26.95
裝幀:Paperback
isbn號碼:9780804736336
叢書系列:
圖書標籤:
  • 哲學 
  • 法蘭剋福學派 
  • Adorno 
  • Horkheimer 
  • Frankfurt 
  • 社會學 
  • 阿多諾 
  • 霍剋海默 
  •  
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"Dialectic of Enlightenment" is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism." Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present. The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization. Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book. This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

具體描述

讀後感

評分

九零年左右出生的人成长于这样的一种文化氛围之下:先是日本动漫的风靡,再到平民偶像的崛起,最后是当今网络文化的全面普及。七八十年代的由知识分子主导的诗意生活与民主热情已在一次激昂而又成为禁忌的副歌中随风远去,取而代之的是一种渗透全社会的,从大学生到初中辍学者...  

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法兰克福学派的顶梁柱阿多诺和霍克海默在其合著的《启蒙辩证法》一书中,主张用“文化工业”来代替“大众文化”来表示现代大众传媒及其传播的流行文化。阿多诺认为,文化工业的产品不是艺术品,而是商品,它从一开始就是作为市场上销售可以替代的项目被生产出来,其目的是为了...  

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有人说这本书写得神神叨叨,但一定程度上这不是作者的错而是译者的错。这本书的翻译可以说错谬非常多,很多地方读中译全不可解,读英译才能明白。 译者自称是按照英文译的,又经过德文的校对,但有些地方中译与英译的意思竟然完全相反,而根据上下文只有按照英译的意思才能顺畅...  

評分

On Dialectic of Enlightenment: Philosophical Fragments Dialectic of Enlightenment: Philosophical Fragments by Max Horkheimer and Theodor Adorno primarily provides a thorough self-critique of the revisionist version of enlightenment by enlightenment itself. ...

評分

法兰克福学派的顶梁柱阿多诺和霍克海默在其合著的《启蒙辩证法》一书中,主张用“文化工业”来代替“大众文化”来表示现代大众传媒及其传播的流行文化。阿多诺认为,文化工业的产品不是艺术品,而是商品,它从一开始就是作为市场上销售可以替代的项目被生产出来,其目的是为了...  

用戶評價

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前三章讀完第一遍。

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曆史進程上,人都有欲望要建構一個自為的機器,人創造概念,這些概念在大規模的傳播下成為第二自然性,順從這些就是所謂健康的體現,而反對它,反而需要超人一樣的力量。一個社會越是文明,生産力越是得到解放,人的形象就越加孤獨與支離破碎,人的內心也越加受到壓抑。讀的過程中也看到瞭今後像Foucault寫規訓與懲罰的影子

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忽然就覺得多少可以解釋為什麼天朝大眾如此熱愛看無腦綜藝和國産劇,大概是因為這些精心推敲過套路、拿捏著人的笑點及其頻率的節目真的可以讓被嚴重剝削的勞動人民在工作與工作的間隙裏迅速迴血且逐步放棄思考的自覺——一切的目的隻是為瞭成為更適應生産的螺絲釘。或許從來沒有哪個社會形態會如此無孔不入而悄無聲息地滲透統治階級的意識形態,成功化矛盾於無形。這大概也解釋瞭為什麼無産階級並沒有成為曆史的執行者,共産主義也終究無法到來。

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怎麼說呢 despair 裏也有審美的樂趣吧。

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有1944年校勘,做得很好。

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