This book is concerned with the scope of cultural theory in its modern, it might even be said in its modernist, form. The three thinkers under most consideration in the book are Theodor Adorno, Michel Foucault and Pierre Bourdieu, who might hardly be seen as representatives of cultural theory per se if that enterprise is taken to be what it should often taken to be. The book starts with Adorno (1903-1969) not just because his work is an apt way to introduce further some very basic themes of the book: in particular those of critical autonomy and educationality. Adorno's reflections on art and culture are contributions to the ethical understanding of autonomy, emphasising the importance of the cultivation of critical reflection. The argument here is that he is, rather, an ethico-critical theorist of democracy and a philosopher of hope. The book then situates the work of Michel Foucault (1926-1984), in other ways so different from Adorno, in terms of a broadly, if minimally, parallel agenda in modern cultural theory. It outlines some of the importance of Foucault's notion of an 'aesthetics of existence' in relation to his work as a whole. It further invokes related themes in the work of Pierre Bourdieu (1930-2002). Finally, it moves things in a different direction, towards postmodernism, invoking the increasing role of the cultural and aesthetic dimension in contemporary experience that is often taken as a central aspect of the postmodern turn.
, emphasising the importance, above all, of the cultivation of critical reflection. Adorno is often cast as a cultural pessimist and elitist in matters of the arts. The argument here is that he is, rather, an ethico-criticaltheorist of democracy and a philosopher of hope. Adorno’s mode of critique is directed not towards denouncing the world as it is but in clearing the way for ethical – and ultimately by that, political – modes of subjectivity founded on a state of cultural and political ‘maturity’. His aims are critical: not just to put forward positive theories of this or