Andrew Huddleston

Aesthetics, in many ways, is at the center of Adorno's philosophical enterprise. Politics and social critique are, in turn, very much at the fore in his aesthetics. His art criticism is thereby bound up with social and political critique. That much is of course a truism about Adorno. In this essay, I shall suggest that Adorno's social criticism (in one of its main manifestations) is related to his art criticism in another interesting way as well. Specifically, their form is similar. The object of critical analysis, whether an artwork or other social phenomenon, is objectionable not simply because it promotes or fosters problematic things downstream – authoritarianism, anti‐Semitism, and the like – as cause to effect. Rather, it is objectionable because it contains, often in a way difficult immediately to detect, such objectionable ideologies covertly embedded in it. Critique will thus be a hermeneutic endeavor seeking to expose these ideologies. While this critical‐interpretive model is of course more familiar in the aesthetic sphere, Adorno extends it to unmasking a wider range of social phenomena.

This chapter begins with some brief biographical information and some general remarks about Friedrich Nietzsche's philosophical methodology and style. Throughout his life, Nietzsche's books had a very small circulation. But by the end of his life, he was beginning to receive greater acclaim, and he was to have an enormous influence, not just within philosophy, but in the wider cultural sphere. In some recent literature on Nietzsche, the divide between naturalism and non‐naturalism has figured prominently. This reflects a broader debate about where exactly to situate Nietzsche, with respect to his eighteenth and nineteenth century predecessors, as well as with respect to debates in contemporary philosophy, particularly surrounding moral psychology, the philosophy of action, and the philosophy of mind. The chapter also presents the discussion of his books themselves, beginning with The Birth of Tragedy (1872) and ending with his autobiography Ecce Homo (1888). It concludes by reflecting on Nietzsche's philosophical and cultural legacy.