Theodor W. Adorno

According to a dogma mainly set up by Heidegger and Horkheimer/Adorno technology prevents the humans from reflecting their own situation in the world. Revealing the conditions of being is not only every humans main task, but even that of philosophy and art. From this point of view the motion picture taken to be merely a piece of technology is not of any worth philosophically and also not considered as art. This dogma is false. It is derived from the assertion that (...) a motion picture has only technical aspects. Indeed it would be impossible to produce it without technology. But a film expresses it‘s director‘s view of the world. This is not systematically different from what an author or composer does with his works. A Film can show why and how artifacts are used and thereby reveal and maybe explain what I call an artifact‘s history of sense. This makes a view of the world understandable. (shrink)

Given his view that the modern world is ‘radically evil’, Adorno is an unlikely contributor to business ethics. Despite this, we argue that his work has a number of provocative implications for the field that warrant wider attention. Adorno regards our social world as damaged, unfree, and false and we draw on this critique to outline why the achievement of good work is so rare in contemporary society, focusing in particular on the ethical demands of roles and the ideological nature (...) of management’s self-understanding. Nevertheless, we show that Adorno’s comments on activities such as art and philosophy mean that it is possible to draw on his work in a way that contributes constructively to the conversation about good and meaningful work within business ethics. (shrink)

During the late 1930s, the failed attempt at collaboration between the Frankfurt School and the Vienna Circle culminated in Horkheimer’s 1937 paper ‘The Latest Attack on Metaphysics’. Horkheimer ([1937] 1972), relying on a caricature of positivism as espousing an uncritical myth of the given, drew far-reaching conclusions concerning positivism’s conservative prohibition of the radical questioning of appearances. Horkheimer (1940) later applied some of these criticisms to Dilthey’s conception of Verstehen, while presenting Logical Empiricism as dismissing Dilthey’s proposals nothing more than (...) poetry. By examining Neurath’s unpublished reply to Horkheimer, and drawing on Uebel’s (2019) account of Logical Empiricism’s stance towards Verstehen, this chapter will attempt to dispel Horkheimer’s caricature. I will highlight a parallel between Neurath’s attitude towards (i) claims about Verstehen in social science and (ii) Horkheimer’s proposals for the use of Vernunft by a ‘supra-scientific’ Critical Theory. Neurath argues that once Horkheimer’s objections to ‘positivism’ are reformulated in non-metaphysical terms, they point towards a genuine problem concerning science’s relation to social praxis. For Neurath, the problem can be addressed from within (rather than, as Horkheimer would have it, from above) empirically-minded investigations in the history and sociology of science. (shrink)

Since the 1980s, there have been many attempts to bring together Critical Theory of Frankfurtian strain and French theories generally referred to as poststructuralist. The present text seeks to readdress the problem of their tricky articulation by taking a look at some vicissitudes those two currents of thought underwent in Brazil. In addition to the risk – embedded in the Parisian passion for dissolution – of positivizing atrocious aspects of Brazilian society related to the country’s multi-secular informality and backwardness, what (...) is at stake is the adequate understanding of the meaning and relevance of dialectical criticism in a peripheral country, in other words, the capacity to weigh the influx and gravitation of foreign ideas and forms in a society of inorganic culture, the possibility, finally, of critically verifying the supposed universality of hegemonic theories and categories in light of a cultural experience amassed under a heterodox modernization. (shrink)

Theodor W. Adorno’s letter correspondence with Walter Benjamin throughout the decade of the 1930’s entertains the central question concerning the possibility of philosophy in their intellectual milieu. The fate of this possibility for Adorno hinges on Benjamin’s work-in-progress Das Passagen-Werk—a fate that is catastrophically blocked by an uncritical tendency convicted repeatedly by the former as “undialectical.” And yet Adorno obstinately persists in clinging to the canon of a philosophically overdetermined demand he endearingly calls “my Arcades orthodoxy.” The threatening destruction of (...) the aura of this orthodoxy reaches a crisis in Adorno’s ruthless metacritique of Benjamin’s alleged undialectical treatment of aesthetic autonomy in a draft of the Kunstwerk essay, marking a critical wound in the correspondence which the following exposition tracks in the enigmatic changeover in the philosophical exigency of the said orthodoxy from prima philosophia to ultima philosophia. The lingering wound is registered in Adorno’s late philosophical work. (shrink)

The article focuses on a chapter of the biography of Angela Davis which, unless mistaken, has not yet received due attention: the training and intellectual experience with her German professors, Herbert Marcuse and Theodor W. Adorno. From the philosophical studies in Frankfurt in the 1960s to the more recent reflections on movements such as Black Lives Matter, there seems to be a continuity in the way she approaches contemporary social reality, a démarche that draws its strength from the original combination (...) of two traditions of radical critical thinking: Frankfurtian and Afro-American. (shrink)

This paper considers the aporia in Dialectic of Enlightenment in two aspects of the self-destruction and self-critique of enlightenment and then emphasizes the dual vision which Horkheimer and Adorno hold on rationality. Firstly, it traces the explanation of the self-destruction of enlightenment so as to make explicit that it results in another form of the aporia, the self-critique of enlightenment. This is followed by formulating the criticism into two aspects, that Horkheimer and Adorno’s aporia leads them to be confronted by (...) a self-contradiction. I argue that the criticism neglects their narrative strategy of history as critique and the methodology of immanent critique of Horkheimer and Adorno. In conclusion, it is elucidated that Horkheimer and Adorno rightly posit their aporia and suggest a proper solution, by which we could take the dual vision on rationality and their own model of immanent critique as its significances. (shrink)

This article discusses the theological implications of Adorno’s writings on Beckett by specifically examining their constellative motifs of death, reconciliation and redemption. It addresses not only their content but also their form, suggesting a mutually stimulating relationship between the two as based both on a negative-dialectical approach and an inverse-theological trajectory. Focusing on Adorno’s discussion of Beckett’s oeuvre as a “metaphysical entity,” I argue that Adorno’s reading of Beckett is peculiar because it is inextricably tied to his own critical-theological venture. (...) The essay claims that Adorno’s reflections on Beckett contour, at their most basic level, meditations on theology in the age of its impossibility. (shrink)

Contemporary debates about ideal and nonideal theory rest on an underlying consensus that the primary practical task of political theory is directing action. This overlooks other urgent practical work that theory can do, including showing how injustice can be made bearable and how resisting it can be meaningful. I illustrate this important possibility by revisiting the purpose for which John Rawls originally developed the concept of ideal theory: reconciling a democratic public to living in a flawed world that may otherwise (...) seem more of a home for catastrophe than justice. However, Rawls’s account of reconciliation is flawed; because of his methodology, the realistic utopia he constructs as a source of hope can be used to defend an unjust status quo. By drawing lessons from Theodor Adorno’s contrasting view of reconciliation after the Holocaust, I offer a more democratic method for political theory to offer sources of hope to the public. (shrink)

This paper focuses on 3 features of Freyenhagen's Aristotelian version of Adorno. (a) It challenges the strict negativism Freyenhagen finds in Adorno. If we have morally relevant interests in ourselves, it is implicit that we have a standard by which to understand what is both good and bad for us (our interests). Because strict negativism operates without reference to what is good, it seems to be detached from real interests too. Torture, it is argued, is, among other things, a violation (...) of those interests. (b) Freyenhagen identifies the “impulse” in Adorno as an untutored yet moral reaction to morally demanding situations. The plausibility of this primitivism and its compatibility with Adorno's general worries about immediacy are considered. (c) The disruptive character of Adorno's version of the categorical imperative, its willingness to complicate action through wholesale reflection on the norms of what we are committing ourselves to, is set in contrast with Freyenhagen's Aristotelian claim that certain notions, such as “humanity,” cannot be intelligibly questioned. (shrink)

In this paper, I examine Adorno’s controversial claim that human rationality is inherently mimetic. To do so, I break this claim down into three puzzles (the natural historical puzzle, the metaphysical puzzle, and the epistemic puzzle) and consider each in turn. The first puzzle originates in Adorno’s assertion that in the course of human history the mimetic moment of human thought “is melted together with the rational moment”. So whereas, on his narrative, mimesis has become an intrinsic component of human (...) rationality, it appears that we are oblivious to this state of affair and unable to recognize the workings of mimesis in what we otherwise refer to as rationality. The second puzzle concerns the traditional metaphysical question regarding the possibility of knowledge. Adorno holds that the key to this question lies in the “mimetic moment of knowledge”, which he characterizes as the “moment of the elective affinity between the knower and the known.” The third puzzle concerns his views on how the mimetic moment of thought plays out in our epistemic practices. As he puts it, “consciousness knows of its other as much as it resembles that other,” which seems to entail that our very efforts to conceptualize objects somehow rely on imitative processes. I work out what I take to be the basics of Adorno’s understanding of mimesis and use them to make sense of each puzzle. I argue that Adorno’s insistence on the mimetic component of human rationality isn’t meant to promote more mimetic modes of comportment, but a reflexive awareness of the extent to which our rational activities already rely on imitative (or immersive) processes, even those we view as embodying the strongest claims to the contrary. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

This paper critically evaluates what it identifies as ‘the institutional theory of freedom’ developed within recent neo-Hegelian philosophy. While acknowledging the gains made against the Kantian theory of autonomy as detachment it is argued that the institutional theory ultimately undermines the very meaning of practical agency. By tying agency to institutionally sustained recognition it effectively excludes the exercise of practical reason geared toward emancipation from a settled normative order. Adorno's notion of autonomy as resistance is enlisted to develop an account (...) of practical reason that is neither institutionally constrained nor without appropriate consideration of the historical location of the practical agent. (shrink)

Theodor W. Adorno inspired much of Germany’s 1960s student movement, but he came increasingly into conflict with this movement about the practical implications of his critical theory. Others – including his friend and colleague Herbert Marcuse – also accused Adorno of a quietism that is politically objectionable and in contradiction with his own theory. In this article, I recon- struct, and partially defend, Adorno’s views on theory and (political) praxis in Germany’s 1960s in 11 theses. His often attacked and maligned (...) stance during the 1960s is based on his analysis of these historical circumstances. Put provocatively, his stance consists in the view that people in the 1960s have tried to change the world, in various ways; the point – at that time – was to interpret it. (shrink)

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. In (...) spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

Adorno’s use of the term “barbarism” has probably been most often referred to in the context of his much- cited dictum that “to write poetry after Auschwitz is barbaric” (Adorno 1983: 34). While, nowadays, the term is usually and fortunately presented within the broader context of his works, his intended meaning was frequently misunderstood particularly after Adorno had articulated it for the first time. For clarity, the aforementioned dictum was not a verdict intended to silence poets or artists. It was (...) rearticulated a few times by Adorno — specifically in response to Celan’s poetry — who calls for arts and culture to respond from within and in the face of an inescapable aporetic condition. Namely, to write poetry after Auschwitz means to write from within a differend—a radical chasm between the signifier and the signified that one neither ought nor could overcome via writing or aesthetic means in general. Yet, poetry (and also art and thinking, per se) as a form of active engagement with sociopolitical realities, has to respond to the ungraspable (i.e., the Holocaust); it cannot simply avoid doing so. It permanently has to speak whilst knowing that it will never reach the addressee; that it must fail in speaking. -/- . (shrink)

L’articolo istituisce un confronto tra Ernesto de Martino e Theodor W. Adorno: due studiosi che, vissuti nella stessa epoca travagliata e formatisi nella tradizione del pensiero dialettico hegeliano e marxiano, pongono entrambi al centro delle loro più significative ricerche la questione dell’origine storica del sé individuale. Vengono quindi indagate le affinità nelle motivazioni storico-sociali che portano i due autori ad affrontare il tema della genesi storico-antropologica della soggettività; i parallelismi nel modo in cui essi determinano il costituirsi dell’io razionale e (...) autoconsapevole; e le loro diagnosi riguardo alla crisi della «presenza» umana, che, inizialmente differenziate, con l’avvicinamento di De Martino al marxismo vanno facendosi sempre più convergenti. (shrink)

This article explores critical theory's relations to German idealism by clarifying how Adorno's thought relates to Hegel's. Adorno's apparently mixed responses to Hegel centre on the dialectic and actually form a coherent whole. In his Logic, Hegel outlines the dialectical process by which categories – fundamental forms of thought and reality – necessarily follow one another in three stages: abstraction, dialectic proper, and the speculative . Adorno's allegiance to Hegel's dialectic emerges when he traces the dialectical process whereby enlightenment reverts (...) to myth and human domination over nature reverts into our domination by nature. However, Adorno criticizes Hegel's dialectic as the ultimate form of ‘identity thinking’, subsuming unique, material objects under universal concepts by using dialectical reason to expand those concepts to cover objects utterly. These two responses cohere because Adorno shares Hegel's view that dialectical contradict.. (shrink)

In this paper I argue that Adorno's metacritique of freedom in Negative Dialectics and related texts remains fruitful today. I begin with some background on Adorno's conception of ‘metacritique’ and on Kant's conception of freedom, as I understand it. Next, I discuss Adorno's analysis of the experiential content of Kantian freedom, according to which Kant has reified the particular social experience of the early modern bourgeoisie in his conception of unconditioned freedom. Adorno argues against this conception of freedom and suggests (...) that freedom is always conditioned by our embodiment and by our social and historical situation. Finally, I turn to Adorno's criticism of Kant's discussion of freedom and determinism in the Critique of Pure Reason and argue that while his philosophical argument against Kant fails, his metacritical argument remains suggestive. Scepticism about freedom arises when the standpoint of theoretical reason encroaches upon the standpoint of practical reason and assimilates persons to things. (shrink)

Adorno and Levinas argue from distinct yet intersecting perspectives that there are pathological forms of freedom, formed by systems of power and economic exchange, which legitimate the neglect, exploitation and domination of others. In this paper, I examine how the works of Adorno and Levinas assist in diagnosing the aporias of liberty in contemporary capitalist societies by providing critical models and strategies for confronting present discourses and systems of freedom that perpetuate unfreedom such as those ideologically expressed in possessive individualist (...) and libertarian conceptions of freedom. (shrink)

The core argument of this article is that Adorno adopts the distinction between an abstract and a concrete universal from Hegel and criticizes Hegel, on that basis, as abstract. The first two parts of the article outline that both thinkers take the abstract universal to be the form of a false type of knowledge and society, and the concrete universal to be a positive aim. However, as the third part argues, Adorno rejects how the concrete universal is understood in Hegel’s (...) philosophy and formulates a different conception of it. The fourth part questions if Adorno manages to overcome the problems he identifies in Hegel or whether they are inherent to the programme of dialectics both endorse. (shrink)

This out-of-print collection in the area of European twentieth-century political philosophy includes selections from Adorno, Benjamin, Benhabib, Marcuse, Ciavatta, Comay, Honneth, and Fraser.

Abstract Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine?grained for discursive language. To accommodate such claims one can adopt either a convention?based account or a natural?kind account. A natural?kind theory can explain the first but requires some special scaffolding in order to support (...) the second, while a convention?based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art?s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic?Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

Tra gli autori discussi da Axel Honneth nel suo pluridecennale itinerario teorico, Adorno è senza dubbio una delle presenze più costanti e rilevanti: fin dai suoi primi scritti Honneth stabilisce con il pensiero adorniano un rapporto complesso, che, attraverso un susseguirsi di ricostruzioni critiche, prese di distanza, riavvicinamenti impliciti ed esplicite ritrattazioni, va a rivelarsi una delle maggiori sorgenti di stimoli per la progressiva delineazione della teoria del riconoscimento. Nel presente lavoro ci proponiamo di ricostruire e discutere criticamente questo rapporto, (...) al fine di determinare quali siano le acquisizioni positive che da esso derivano per la teoria honnethiana, quali i punti irrisolti, e quali, infine, le potenzialità del pensiero di Adorno rimaste ancora inesplorate nella riattualizzazione che Honneth compie di esso. (shrink)

The paper aims to single out and clarify some causal connections between theconcomitant growth of depressive phenomena, not only in the strict clinicalsense, and the establishment of the new capitalist model, which has taken place in Western countries from the early seventies until today. As well as onthe mechanism of labour market flexibility, the essay dwells in particular onthe paradoxical dynamics of the ethical and moral ideals of the newideological configuration. Finally, the paper will also use the category of hegemony (...) to offer some theoretical instruments directed at reactivating theemancipatory potentials frustrated by social suffering of a depressive and regressive nature. Il saggio mira a individuare e delucidare alcuni nessi causali tra il concomitante incremento dei fenomeni depressivi, non solo in senso strettamente clinico, e l’affermazione del nuovo modello capitalistico avvenuto nei paesi occidentali dai primi anni settanta ad oggi. Oltre che sul meccanismo della flessibilità del mercato del lavoro, si insiste in particolare sulle dinamiche paradossali delle istanze etiche e morali della nuova configurazione ideologica. Ricorrendo anche alla categoria di egemonia, vengono da ultimo approntati degli strumenti teorici finalizzati a riattivare i potenziali emancipativi frustrati nella sofferenza sociale di natura depressiva e regressiva. (shrink)

Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet perhaps more (...) difficult to assess: that he should gain permission to interrupt an unspeakably cruel and final punishment, an essentially hopeless…. (shrink)

In this paper I argue that Theodor W. Adorno 's philosophy of freedom needs an ontological picture of the world. Adorno does not make his view of natural order explicit, but I suggest it could be neither the chaotic nor the strictly determined ontological images common to idealism and positivism, and that it would have to make intelligible the possibility both of human freedom and of critical social science. I consider two possible candidates, Nancy Cartwright 's ‘patchwork of laws’, and (...) Roy Bhaskar 's critical realism. Arguing that Cartwright 's position conflicts with the spirit of Adorno 's philosophy, I suggest that Bhaskar 's realism is compatible with and to a significant extent implicit in Adorno 's position. Whilst Adorno is clearly not a critical realist, Bhaskar 's position does provide the best overall account of the ontological commitments of Adorno 's critical theory. It becomes possible in turn to locate Bhaskar 's arguments in a broader critical tradition and give fuller expression to the concerns that structure his work, in particular by locating the epistemic fallacy in the narrative account of the natural history of subjective reason and its tendency towards ‘identity thinking ’. The discussion goes on to consider the interdependence of reason, nature and freedom in the idea of emancipatory critique, confirming the deeper affinities between critical realism and critical theory. (shrink)

In Eichmann in Jerusalem , Hannah Arendt struggled to defend the possibility of judgment against the obvious problems encountered in attempts to offer legally valid and morally meaningful judgments of those who had committed crimes in morally bankrupt communities. Following Norrie, this article argues that Arendt’s conclusions in Eichmann are equivocal and incoherent. Exploring her perspectival theory of judgment, the article suggests that Arendt remains trapped within certain Kantian assumptions in her philosophy of history, and as such sees the question (...) of freedom in a binary way. The article argues that Adorno’s philosophy of freedom provides the resources to diagnose and overcome Arendt’s shortcomings. Adorno’s position provides a way of embracing the antinomical character of judgment, by emphasising the need for elements of reason and nature in the phenomenon of freedom. In Adorno’s lights, judgment becomes an attempt to express a ‘spirit of solidarity’ with the tragic status of the potentially free but actually unfree subject of modernity. (shrink)

The aim of the paper is to investigate the connection between the Frankfurt School and the events of 1968. Accordingly, the paper focuses only on those important members of the School whose philosophical, ideological or practical influence on the events is clearly detectable. This means dealing with four thinkers in three sections: the influence of Adorno and Horkheimer is treated in the same section, whereas the work of Marcuse and Habermas is examined in separate sections. The three sections represent three (...) different approaches. Adorno and Horkheimer are passive onlookers of the events their passivity being rooted in their skeptical philosophical thinking. The initially also passive and pessimist Marcuse slowly rises to the role of the ’prophet’ of the students. And the early Habermas’ critical analysis paves the way for his initially pessimist, but later more optimistic reformist attitude. The paper is structured accordingly: after introductory thoughts, the mentioned thinkers are treated in separate sections that contain historo-philosophical analysis of their relevant works. (shrink)

I argue that 'deep' ecology (as exemplified by the work of Arnie Naess) involves three inter-related commitments: (1) to an ethics of nature or axiological anti-humanism in which natural entities, processes or systems can possess intrinsic value independently of human beings; (2) a metaphysical naturalism or anti-humanism in which human beings are themselves conceptualized as natural products; (3) a transformative aspect. Although (3) is sometimes cast in personal or psychological terms, I think the idea can be given a properly philosophical (...) reconstruction along the lines of a kind of Ideologiekritik. I give the examples of Heidegger and Adorno to show how deeply our understanding of nature has been corrupted, and hence the depth of conceptual transformation required correctly to conceive nature. But both these thinkers simultaneously demonstrate a hostility to metaphysical naturalism and therefore have ultimately limited value for deep ecology. I then outline three possible relations of axiological to metaphysical commitments: (a) the abandonment of naturalism about values; (b) a projective or transcendentally idealist account of values; (c) an account of values as themselves lodged within the operation of natural systems. My reconstruction of the Ideologiekritiker shows them belonging to (b). So that if deep ecology is to avoid (a), it must embrace (c). Deleuze is much touted by environmental philosophers as contributing to (c). I argue that this is correct, but that the axiological commitments Deleuze manifests in his account of nature are ultimately quite different from those to which deep ecologists appear sympathetic. (shrink)

Reading or hearing about Theodor Adorno's ideas always results in quibbles. He strikes many as a naïve philosopher because of his reversal of concept and object; some see him as an anarchist because of his relentless critique of rationality; while to others he simply does not make sense, and especially a critique of society based on negative dialectics simply does not make sense to many! These points, however, are precisely some of the key elements of his thought; without a deeper (...) apprehension of these main themes, it would be impossible to arrive at a level-headed appraisal of his philosophy. (shrink)

The notes for Theodor Adorno’s courses in the 1960’s are important resources not only for an understanding of his magnum opus, Negative Dialectics, but also for developing critical responses to this problematic philosophical heir of idealism. Particularly noteworthy among the volumes that have appeared so far is from Adorno’s 1965 course on metaphysics where he engages in a sustained reading of Aristotle’s Metaphysics and explicitly connects it with the project of Negative Dialectics. Adorno’s chief concern is to demonstrate, by way (...) of Eduard Zeller’s work, that Aristotle is indeed a proto-idealist and that his ontology is comprised of a fundamental dualism. Adorno is not an informed reader of Aristotle, as his reliance on Zeller makes clear, but he succeeds in drawing the reader’s attention to the organizing force exerted by  upon . The interest in this organizing force is motivated by an interest in the ethics that is consequent upon it: an ethics that ignores the sufferings of the concrete in the name of a rational ideal. While there are echoes of this in Aristotle’s ethical writings, his account of imagination in De Anima ought to give pause to an account as reductive as Adorno’s. In De Anima, Aristotle provides an account of the imagination () that makes it a power reducible neither to  nor to . The imagination, a power of the bodily senses, and especially sight, is a power that grants to thinking its power but is itself the unmotivated actualization of the purely potential. This essay argues that such a power resists interpretation into any dialectical schema insofar as it constitutes a distinct power of the human animal. At the same time, such an interpretation provides a possible route out of the ethical impasse of the unthinkable concrete. (shrink)

I tackle the definition of the relation between first and second nature while examining some problems with McDowell's conception. This, in the first place, will bring out the need to extend the notion of second nature to the social dimension, understanding it not just as `inner' second nature — individual mind — but also as `outer' second nature — objective spirit. In the second place the dialectical connection between these two notions of second nature will point the way to a (...) critical use of the concept itself, which will link up with a theory of reification. Furthermore, I shall endeavor to fit my reflection into the problematic constellation of critical theory: my analysis in fact rests on the question whether, within a critical theory, the philosophy of nature can be recaptured today, in such a way as to give meaning to the very notion of socio-philosophical criticism of reality. (shrink)

Dass Kunst Sinnliches zu vergeistigen und Geistiges zu versinnlichen vermag, macht ihren Wesenskern und zugleich Rätselcharakter aus. Dass dieses Rätsel immer erneut als unaufgelöst erscheint, bedeutet auch, dass eine fortdauernde Irritation von Kunst ausgeht. Das Bestürzende der Kunst ist dies, dass sie den scheinbar unversöhnlichen Gegensatz des Geistigen und Sinnlichen zugleich als versöhnt erscheinen lässt: als Ver-Sinnlichung von Ideellem. Hegels These, dass die Kunst, eben durch diese Bindung an Sinnliches, 'ihrer eigentlichen Bestimmung nach für uns ein Vergangenes' sei, erscheint so (...) gesehen problematisch. Hat die geistesgeschichtliche Entwicklung die Kunst ihrer Irrelevanz überführt im Vergleich mit den nach Hegel höheren Formen des Geistigen, der Religion und der Philosophie? Entscheidend ist die Bewertung des sinnlichen Elements – dies näher zu klären wird hier in der Konfrontation der Hegelschen These mit den Kunstdeutungen Heideggers und Adornos unternommen. (shrink)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is in fact (...) antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural prod- ucts. I will argue that both authors have con- fused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive lis- tening implies, contrary to his intentions, that the current reception of artwork (...) is in fact antagonistic to fetishism, and that 2) his crit- icism of Benjamin’s optimism toward “re- ception in distraction” is nevertheless justi- fied. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

Adorno und Levinas haben in ihren im Abstand von wenigen Jahren erschienenen Hauptwerken "Negative Dialektik" (1966) und "Totalität und Unendlichkeit" (1961) vom Anspruch epistemischer Beherrschung der neuzeitlichen Erstphilosophie Abstand genommen. Anders als für die Denker der Postmoderne wird ihre Kritik jedoch nicht als ein Abbau der Vernunft in Richtung rationaler Beliebigkeit inszeniert. Beide beanspruchen die neuzeitliche Erstphilosophie so zu überwinden, dass ein vorbegrifflicher bzw. vorthematischer Fremdsinn als konstitutiv für die intentionale Leistung von Eigen-Sinn gedacht wird.

The Impossibility of Poetry Adorno's aesthetic theory bears the profound scars of his personal experience of fascism. Even after Auschwitz, he feared that modern bourgeois society is a breeding ground for new forms of fascist terror. It was said that, after Auschwitz, one could no longer write poems. But Adorno insisted that postwar art is an indispensable means for telling the truth about how the social order was fundamentally changed by that catastrophe.1 Not to tell the truth is to be (...) guilty of complicitous silence; yet, the unbearable truth is that society is pervasively and radically evil. As long as…. (shrink)

Given its centrality to the intellectual thought processes through which the great structures of logic, nature, and spirit are unfolded it is clear that mediation is vital to the very possibility of Hegel’s encyclopaedic philosophy. Yet Hegel gives little specific explanation of the concept of mediation. Surprisingly, it has been the subject of even less attention by scholars of Hegel. Nevertheless it is casually used in discussions of Hegel and post- Hegelian philosophy as though its meaning were simple and straightforward. (...) In these discussions mediation is the thesis that meanings are not atomic in that the independence of something is inseparable from its relation to something else. Hence being is mediated by nothing, the particular by the universal, the individual by society. But does Hegel ever explain mediation in a way which justifies such use of the concept? The same easy employment of mediation is found in Theodor Adorno whose works are replete with the use of this concept and, indeed, acknowledgements of its Hegelian origin. But the concept of mediation in Adorno’s negative dialectic is operative in an entirely different context from that of Hegel. How, it might be asked, can a concept be so adaptable? I want to argue that mediation is, in fact, an equivocal term which in both Hegel and Adorno covers a variety of entirely different conceptual relations. Furthermore, as propounded by both Hegel and Adorno it lacks the rigour which could allow the particular conclusions which the concept allegedly facilitates. (shrink)

Adorno and Heidegger are frequently aligned because of apparent similarities in their critiques of modern epistemology. This alignment fails, however, to appreciate the substantial differences in the philosophical presuppositions that inform those very critiques. I distinguish Adorno's negative dialectic from Heidegger's fundamental ontology under the respective designations of critical versus phenomenological forms of transcendental philosophy. I argue that only by understanding Adorno's negative dialectic as a revised version of epistemology (namely a dialectical epistemology, committed to subject-object and transcendental argument) can (...) we make sense of, first, the profound differences between Adorno and Heidegger on the question of epistemology and, second, the philosophical motivations behind Adorno's trenchant rejection of Heidegger. Key Words: being-in-the-world • - dialectics • - empiricism • - epistemology • - idealism • - identity • - immediacy • - irrationalism • - mediation • - project • - subject • -object • - transcendental. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)