Sebastian Truskolaski – författare

This book upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno’s writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno’s writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author’s overall project from a radically new perspective (Adorno’s famous ‘standpoint of redemption’), and brings his central concerns to bear on the problems of today.On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno’s recurrent reference to the Old Testament ban on making images of God.By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.

This book upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno''s writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno''s writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author''s overall project from a radically new perspective (Adorno''s famous ''standpoint of redemption''), and brings his central concerns to bear on the problems of today. On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno''s recurrent reference to the Old Testament ban on making images of God. By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.

This book upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno''s writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno''s writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author''s overall project from a radically new perspective (Adorno''s famous ''standpoint of redemption''), and brings his central concerns to bear on the problems of today. On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno''s recurrent reference to the Old Testament ban on making images of God. By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.

This book upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno’s writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno’s writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author’s overall project from a radically new perspective (Adorno’s famous ‘standpoint of redemption’), and brings his central concerns to bear on the problems of today.On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno’s recurrent reference to the Old Testament ban on making images of God.By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.

The Storyteller gathers for the first time the fiction of the legendary critic and philosopher Walter Benjamin, best known for his groundbreaking studies of culture and literature, including Illuminations, One-Way Street and The Arcades Project. His stories revel in the erotic tensions of city life, cross the threshold between rational and hallucinatory realms, celebrate the importance of games, and delve into the peculiar relationship between gambling and fortune-telling, and explore the themes that defined Benjamin. The novellas, fables, histories, aphorisms, parables and riddles in this collection are brought to life by the playful imagery of the modernist artist and Bauhaus figure Paul Klee.