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“DIESER HÖRSAAL IST BESETZT!” (“This lecture hall is occupied!”) In November and December 2009, signs bearing such slogans were found on doors at over 60 German universities. For the second time that year, a broad student movement managed to gain public attention for its demands. Protests at the University of Vienna kicked off what became a Europe-wide solidarity wave. In Germany, the Viennese protest first triggered occupations in Heidelberg, Münster, and Potsdam, after which students at many other institutions also became involved. [Read More]

GILLIAN ROSE’S MAGNUM OPUS was her second book, Hegel Contra Sociology (1981).1 Preceding this was The Melancholy Science: An Introduction to the Thought of Theodor W. Adorno (1978), a work which charted Rose’s approach to the relation of Marxism to Hegel in Hegel Contra Sociology.2 Alongside her monograph on Adorno, Rose published two incisively critical reviews of the reception of Adorno’s work.3 Rose thus established herself early on as an important interrogator of Adorno’s thought and Frankfurt School Critical Theory more generally, and of their problematic reception. [Read More]

THE NEW TRANSLATION AND REPUBLICATION of Theodor Adorno’s Philosophy of New Music1 is a further clarification of modernism, necessitated by the latest discontents with postmodernism’s vulgarization, which keeps it at a fictitious distance. Perhaps as his remedy for the most fragmented part of the whole of the arts, namely music, translator Robert Hullot-Kentor has in recent years been steadily reintroducing Adorno’s aesthetic philosophy to English readers.2 The republication of Philosophy of New Music continues this process, further introducing readers to Adorno’s complex aesthetic theory, also elaborated recently in Current of Music, which embodies Adorno’s aesthetic hopes for the early emergence of radio transmission. [Read More]

IT IS NO COINCIDENCE that there is a new English translation1 of Black Skin, White Masks (Peau Noire, Masques Blancs (1952), hereafter BSWM), since in this first book, Frantz Fanon (1925–1961) himself believed that the fight against racism had nowhere found more succor than in the United States. Fanon poetically describes the shorn “curtain of the sky” over the battlefield after the Civil War that first reveals the monumental vision of a white man “hand in hand” with a black man (196). [Read More]