My Adorno Greek Lexicon project is now complete. Here is the full listing. Page references are to Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004 unless noted otherwise. Links contain additional information about the research process and the context of each term. I hope this is of help to anglophone readers in their pursuit of Adorno's thought.
"This exteriorization is, however, practical insofar as it determines the person who experiences art and steps out of himself as a ζῷον πολιτικόν, just as art itself is objectively praxis as the cultivation of consciousness" (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004. p. 317.) ζῷον πολιτικόν = zōon politikon;
I took a detour today, en route to visiting the Freud museum to the Islington Museum, in order to see the collection of library books defaced by playwright Joe Orton and Kenneth Halliwell. The collection was not disappointing!
"that expressionism was more powerful as an idea than in its works perhaps has its origins in the fact that its utopia of the pure τοδε τι is itself a fragment of false consciousness." (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004. p. 239.) τοδε τι = "a this", “some this”, "a something"; a separate individuated substance. From Aristotle.
"This defines the untruth of any genius aesthetics that suppresses the element of finite making, the τέχνη in artworks, in favor of their absolute originality" (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004.
"Fireworks are apparation κατ εξοχην: They appear empirically yet are liberated" (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004. p. 107.) κατ εξοχην = par excellence (eminently) Featured image by Пероша under a CC-BY-NC license. Adorno terminology: κατ εξοχην was originally published by Martin Paul Eve at Martin Paul Eve on January 11, 2012.
"Artworks are eliminated along with the youthful θαυμαζειv" (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004. p. 109.) θαυμαζειv = wonder, marvel (LSJ) With thanks to Georgios Maragos for confirmation.
"The agon of Greek tragedy still gave evidence of this" (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004.
"By its εποχη from the empirical world, new art ceases to be fantastic." (Adorno, Theodor W. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Translated by Robert Hullot-Kentor. London: Continuum, 2004. p. 25.) εποχη in contemporary Greek = age/epoch This seems problematic.
With thanks to Roland Clare, a quick snippet of interest (certainly to me, anyway) on the etymology of a certain Étienne Cherdlu, a character featuring, despite omission from Hurley's Pynchon Character Names: A Dictionary (Hurley, Patrick. Pynchon Character Names: A Dictionary. Jefferson N.C.: McFarland & Co. Publishers, 2008.), in "The Secret Integration". (Pynchon, Thomas.
