چکیده:
The current paper seeks to explain Adorno's critical attitude on modern art which is popular and out of content, through an analytical methodology approach after explaining the critical theory of Adorno culture industry and defining related terms such as individuality and domination and features of popular music from his viewpoint including standardization and virtual individuality. Then, in addition to describing the style change between recent traditional and pop eulogies, he compared it to popular music and responded to the two hypotheses of existence and non-existence of the relationship between the new style of eulogy and the culture industry, and finally he presented strategies for harm elimination of eulogy such as educational (training for eulogers, preachers and managers), research (including providing a reputable scientific and historical resource, providing appropriate poetry and books and educational journals, accurate problems delimitation and constant harm explication and explaining the features of ideal mourning congregations), supervisory, supportive, and promotional
خلاصه ماشینی:
Pathology of Mourning from the Analytical Perspective of Adorno's Culture Industry and its Policy-making Seyyed Mohammad Hossein Hashemian Monireh Basirati* Abstract In this article, using an analytical methodological approach, an attempt is made to explain Adorno's critical theory of the culture industry after defining related terms such as individuality and domination, and describing his view on the characteristics of popular music, including standardization and pseudo-individuality, as well as his critical attitude toward modern art, which has become popular and devoid of content.
The goal of this type of research is to discover, analyze, interpret, or criticize a concept, structure (objective or semantic), action, or specific context; therefore, in order to analyze the pathology of the "pop-ification" of Madahi, Theodor Adorno's theory, which has a critical-analytical approach, has been used for several reasons; among these reasons are his familiarity with both high art and popular music, and his criticism of popular music through the coinage of the term "culture industry".
In addition to Dialectic of Enlightenment, in his subsequent individual works regarding film, radio, newspapers, and especially popular jazz music, Adorno continues to insist on the fact that under the dominance of monopoly capitalism, art and culture are entirely determined by the economy and market rules (Adorno&Steinbach, 1975).
The publication of the joint article by Adorno and Horkheimer in 1944 titled "The Culture Industry, Enlightenment as Mass Deception" - which was later published in book form - can be called a turning point in the history of the Frankfurt School.
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