Editing Theodor W. Adorno (section)

===Exile: Oxford, New York, Los Angeles===
After the possibility of transferring his [[habilitation]] to the [[University of Vienna]] came to nothing, Adorno considered relocating to Britain upon his father's suggestion. With the help of the [[Academic Assistance Council]], Adorno registered as an advanced student at [[Merton College, Oxford]], in June 1934. During the next four years at Oxford, Adorno made repeated trips to Germany to see both his parents and Gretel, who was still working in Berlin. Under the direction of [[Gilbert Ryle]], Adorno worked on a dialectical critique of [[Edmund Husserl]]'s epistemology.<ref>Lorenz Jäger, ''Adorno: A Political Biography'', Yale University Press, 2004, p. 90.</ref> By this time, the [[University of Frankfurt Institute for Social Research|Institute for Social Research]] had relocated to New York City and begun making overtures to Adorno. After months of strained relations, Horkheimer and Adorno reestablished their essential theoretical alliance during meetings in Paris. Adorno continued writing on music, publishing, "The Form of the Phonograph Record" and "Crisis of Music Criticism" in the Viennese musical journal ''23'', "On Jazz" in the institute's ''Zeitschrift'', "Farewell to Jazz" in ''Europäische Revue''. But Adorno's attempts to break out of the sociology of music were twice thwarted: neither the study of Mannheim he had been working on for years nor extracts from his study of Husserl were accepted by the ''Zeitschrift''. Impressed by Horkheimer's book of aphorisms, ''Dawn and Decline'', Adorno began working on his own book of aphorisms, which later became ''Minima Moralia''. While at Oxford, Adorno suffered two great losses: his Aunt Agathe died in June 1935, and Berg died in December of the same year. To the end of his life, Adorno never abandoned the hope of completing Berg's unfinished opera [[Lulu (opera)|Lulu]].

At this time, Adorno was in intense correspondence with [[Walter Benjamin]] about the latter's ''[[Arcades Project]]''. After receiving an invitation from Horkheimer to visit the Institute in New York, Adorno sailed for New York on 9 June 1937 and stayed for two weeks. While he was in New York, Horkheimer's essays "The Latest Attack on Metaphysics" and "Traditional and Critical Theory", which would soon become instructive for the institute's self-understanding, were the subject of intense discussion. Soon after his return to Europe, Gretel moved to Britain, where she and Adorno were married on 8 September 1937. A little over a month later, Horkheimer telegrammed from New York with news of a position Adorno could take with the [[Radio Project|Princeton Radio Project]], then under the directorship of the Austrian sociologist [[Paul Lazarsfeld]]. Yet Adorno's work continued with studies of Beethoven and [[Richard Wagner]] (published in 1939 as "Fragments on Wagner"), drafts of which he read to Benjamin during their final meeting, in December on the Italian Riviera. According to Benjamin, these drafts were astonishing for "the precision of their materialist deciphering" as well as the way in which "musical facts ... had been made socially transparent in a way that was completely new to me."{{sfn|Müller-Doohm|2005|pages=237, 239}} In his Wagner study, the thesis later to characterize ''[[Dialectic of Enlightenment]]''—man's domination of nature—first emerges. Adorno sailed for New York on 16 February 1938. Soon after settling into his new home on Riverside Drive, Adorno met with Lazarsfeld in [[Newark, New Jersey]], to discuss the Project's plans for investigating the impact of broadcast music.

Although he was expected to embed the Project's research within a wider theoretical context, it soon became apparent that the Project was primarily concerned with [[data collection]] to be used by administrators for establishing whether groups of listeners could be targeted by broadcasts specifically aimed at them. Expected to make use of devices with which listeners could press a button to indicate whether they liked or disliked a particular piece of music, Adorno bristled with distaste and astonishment: "I reflected that culture was simply the condition that precluded a mentality that tried to measure it."{{sfn|Müller-Doohm|2005|page=247}} Thus Adorno suggested using individual interviews to determine listener reactions and, only three months after meeting Lazarsfeld, completed a 160-page memorandum on the Project's topic, "Music in Radio." Adorno was primarily interested in how musical material was affected by its distribution through the medium of radio and thought it imperative to understand how music was affected by its becoming part of daily life. "The meaning of a Beethoven symphony", he wrote, "heard while the listener is walking around or lying in bed is very likely to differ from its effect in a concert hall where people sit as if they were in church."{{sfn|Müller-Doohm|2005|page=249}} In essays published by the institute's ''Zeitschrift'', Adorno dealt with the atrophy of musical culture that had become instrumental in accelerating tendencies—toward conformism, trivialization, and standardization—already present in the larger culture. Unsurprisingly, Adorno's studies found little resonance among members of the Project. At the end of 1939, when Lazarsfeld submitted a second application for funding, the musical section of the study was left out. Yet during the two years during which he worked on the Project, Adorno was prolific, publishing "The Radio Symphony", "A Social Critique of Radio Music", and "On Popular Music", texts that, along with the draft memorandum and other unpublished writings, are found in Robert Hullot-Kentor's translation, ''Current of Music''. In light of this situation, Horkheimer soon found a permanent post for Adorno at the Institute.

In addition to helping with the ''Zeitschrift'', Adorno was expected to be the institute's liaison with Benjamin, who soon passed on to New York the study of [[Charles Baudelaire]] he hoped would serve as a model of the larger ''Arcades Project''. In correspondence, the two men discussed the difference in their conceptions of the relationship between critique and artworks that had become manifest through Benjamin's "[[The Work of Art in the Age of Mechanical Reproduction|The Work of Art in the Age of its Technical Reproducibility]]". At around the same time, Adorno and Horkheimer began planning for a joint work on "dialectical logic", which would later become ''Dialectic of Enlightenment''. Alarmed by reports from Europe, where Adorno's parents suffered increasing discrimination and Benjamin was interned in [[Colombes]], they entertained few delusions about their work's practical effects. "In view of what is now threatening to engulf Europe", Horkheimer wrote, "our present work is essentially destined to pass things down through the night that is approaching: a kind of message in a bottle."{{sfn|Müller-Doohm|2005|page=262}} As Adorno continued his work in New York with radio talks on music and a lecture on Kierkegaard's doctrine of love, Benjamin fled Paris and attempted to make an illegal border crossing. After learning that his Spanish visa was invalid and fearing deportation back to France, Benjamin took an overdose of morphine tablets. In light of recent events, the Institute set about formulating a theory of antisemitism and fascism. On one side were those who supported [[Franz Leopold Neumann]]'s thesis according to which [[National Socialism]] was a form of "[[monopoly capitalism]]"; on the other were those who supported [[Friedrich Pollock]]'s "[[state capitalist]] theory." Horkheimer's contributions to this debate, in the form of the essays "The Authoritarian State", "The End of Reason", and "The Jews and Europe", served as a foundation for what he and Adorno planned to do in their book on dialectical logic.

In November 1941 Adorno followed Horkheimer to what [[Thomas Mann]] called "German California",{{sfn|Claussen|2008|page=116}} setting up house in a [[Pacific Palisades, Los Angeles|Pacific Palisades]] neighborhood of German émigrés that included Bertolt Brecht and Schoenberg. Adorno arrived with a draft of his ''Philosophy of New Music'', a dialectical critique of twelve-tone music that Adorno felt, while writing it, was a departure from the theory of art he had spent the previous decades elaborating. Horkheimer's reaction to the manuscript was wholly positive: "If I have ever in the whole of my life felt enthusiasm about anything, then I did on this occasion", he wrote after reading the manuscript.{{sfn|Müller-Doohm|2005|page=275}} The two set about completing their joint work, which transformed from a book on dialectical logic to a rewriting of the history of rationality and the Enlightenment. First published in a small mimeographed edition in May 1944 as ''Philosophical Fragments'', the text waited another three years before achieving book form when it was published with its definitive title, ''Dialectic of Enlightenment'', by the Amsterdam publisher Querido Verlag. This "reflection on the destructive aspect of progress" proceeded through the chapters that treated rationality as both the liberation from and further domination of nature, interpretations of both [[Homer]]'s ''[[Odyssey]]'' and the [[Marquis de Sade]], as well as analyses of the culture industry and antisemitism.

With their joint work completed, the two turned their attention to studies on antisemitism and authoritarianism in collaboration with the [[Nevitt Sanford]]-led Public Opinion Study Group and the [[American Jewish Committee]]. In line with these studies, Adorno produced an analysis of the Californian radio preacher Martin Luther Thomas. Fascist propaganda of this sort, Adorno wrote, "simply takes people for what they are: genuine children of today's standardized mass culture who have been robbed to a great extent of their autonomy and spontaneity".{{sfn|Müller-Doohm|2005|page=293}} Adorno wrote that fascist propaganda encourages identification with an [[authoritarian personality]] characterized by traits such as obedience and extreme aggression.<ref name=":02">{{Cite book |last=Tu |first=Hang |title=Sentimental Republic: Chinese Intellectuals and the Maoist Past |publisher=[[Harvard University Asia Center]] |year=2025 |isbn=9780674297579}}</ref>{{Rp|page=17}}The result of these labors, the 1950 study ''[[The Authoritarian Personality]]'', was pioneering in its combination of quantitative and qualitative methods of collecting and evaluating data as well as its development of the [[F-scale personality test]].

After the USA entered the war in 1941, the situation of the émigrés, now classed "[[enemy aliens]]", became increasingly restricted. Forbidden from leaving their homes between 8pm and 6am and from going more than five miles from their houses, émigrés like Adorno, who was not naturalized until November 1943, were severely restricted in their movements.

In addition to the aphorisms that conclude ''Dialectic of Enlightenment'', Adorno put together a collection of aphorisms in honor of Horkheimer's 50th birthday that was later published as ''Minima Moralia: Reflections from Damaged Life''. These fragmentary writings, inspired by a renewed reading of Nietzsche, treated issues like [[emigration]], [[totalitarianism]], and [[individuality]], as well as everyday matters such as giving presents, dwelling, and the impossibility of love. In California, Adorno made the acquaintance of [[Charlie Chaplin]] and became friends with [[Fritz Lang]] and [[Hanns Eisler]], with whom he completed a study of film music in 1944. In this study, the authors pushed for the greater usage of avant-garde music in film, urging that music be used to supplement, not simply accompany, films' visual aspects. Adorno also assisted [[Thomas Mann]] with his novel ''[[Doctor Faustus (novel)|Doktor Faustus]]'' after the latter asked for his help. "Would you be willing", Mann wrote, "to think through with me how the work—I mean Leverkühn's work—might look; how you would do it if you were in league with the Devil?"{{sfn|Müller-Doohm|2005|page=316}}

At the end of October 1949, Adorno left America for Europe just as ''[[The Authoritarian Personality]]'' was being published. Before his return, Adorno had reached an agreement with a Tübingen publisher to print an expanded version of ''Philosophy of New Music'' and completed two compositions: ''Four Songs for Voice and Piano by Stefan George, op.7'', and ''Three Choruses for Female Voices from the Poems of Theodor Däubler, op. 8''.