Fordham University Press
Berkeley Forum in the Humanities
This volume of the Townsend Papers in the Humanities commemorates the twenty-fifth year of the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley. As such, the volume is an attempt to capture the breadth and depth of lectures and events presented by the center. Many are revised versions of lectures and presentations organized in connection with the annual appointment of the Avenali Professor in the Humanities at Berkeley (generously funded by Joan and Peter Avenali), or Berkeley’s Una’s Lecturer (endowed in the memory of Una Smith Ross, Class of 1911); several are based on other events presented by the center over the years, such as the “Humanities Perspectives on Aging” program or the “Futures” lecture series organized to commemorate the center’s tenth anniversary. All are the reflection of a public event before a live audience. We have chosen to retain references to the live event where they occur, though space limitations would not permit the inclusion of audience questions.
Theodor Adorno’s Aesthetic Theory (1970) offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno’s Aesthetic Theory was the world of high modernism, and much has happened since then both in theory and in practice. Adorno’s powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno’s aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts.
Malcolm Bull offers a detailed analysis of nihilism in Nietzsche's works. Along with accompanying commentaries by Cascardi and Clark, he explores the significance of Nietzscheís views given the fact that a wide range of readers have come to embrace his ideas as new orthodoxy. There seem to be no anti-Nietzscheans today, but Bull demonstrates that this wide embrace of Nietzsche runs counter to the very meaning of nihilism as Nietzsche understood it.
