Robin Truth Goodman is Professor of English at Florida State University, USA. She is the author or editor of ten previous books, including Gender for the Warfare State: Literature of Women in Combat (2017) and, as editor, Literature and the Development of Feminist Theory (2016).

• Series Preface Notes on Contributors Introduction: Understanding Adorno, Understanding ModernismRobin Truth GoodmanSection 1: Adorno’s Keywords 1 Adorno and Beyond: The Modern as Critique of ModernismMax Paddison, Durham University, UK 2 Under the Skin of Modernity: The SubcutaneousBrigit Antonia Hofstätter, Stockholm University, Sweden 3 Mimesis Unto DeathRobin Truth Goodman, Florida State University, USASection 2: Adorno’s Aesthetics4 Adorno on VinylJeffrey R. Di Leo, University of Houston-Victoria, USA 5 Critique, Complexity, Content: Adorno and Musical Modernism since 1970Larson Powell, University of Missouri-Kansas City, USA6 Between the Culture Industry and Art: Adorno’s Approach to FilmStefanie Baumann, University is New University of Lisbon, Portugal7 How It Is (after Auschwitz): Adorno and BeckettJean-Michel Rabaté, University of Pennsylvania, USA8 Thinking Through and Beyond Modernism: Adorno and Contemporary PerformanceSabine Wilke, University of Washington, USA9 Re-Reading Adorno’s Reading of Eichendorff in the Context of 1957Christian P. Weber, Florida State University, USA10 Adorno and the Ethics of CampHeidi Schlipphacke, University of Illinois at Chicago, USASection 3: Adorno’s Constellations11 Art and Animals in AdornoCamilla Flodin, Uppsala University, Sweden 12 The Art of Dehumanization: Adorno’s AnimalsNatalie Lozinski-Veach, University of West Georgia, USA13 Social Labor and the Work of Art, According to AdornoUlrich Plass, Wesleyan University, USA14 Conspiracy Against Theory: Super-Agents, Conspirators, and the Educational Legacies of PositivismKenneth J. Saltman, University of Illinois at Chicago, USA15 Aspects of Adorno’s Critical Theory of CultureStefan Müller-Doohm, University of Oldenburg, GermanyTrans. Daniel SteuerAcknowledgmentsIndex

Reading this dazzling collection of essays is like gazing through a kaleidoscope after a fresh constellation of colored glass has been created by a twist of the hand. For readers who think they already know everything that Adorno had to say about modernism and modernity, the results will be both illuminating and unsettling.