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)

Most readers of Habermas would not classify him as an existential thinker. The view of Habermas as a philosopher in German Idealist and Critical traditions from Kant to Hegel and Marx to the Frankfurt School prevails among Continental as much as among analytic philosophers. And the mainstream Anglo-American reception of his work and politics is shaped by the approaches of formal analysis rather than those of existential and social phenomenology or even current American pragmatism. One may argue that both these (...) readings eclipse richer existential dimensions of a thinker who challenges the notorious methodological and political splits among analytic, Continental and pragmatist orientations. I argue that Habermas’ critical relation to Heidegger’s a historical history of Being and his misguided political career cannot explain a competing narrative of his own affirmative appropriation of existential-ethical dimensions of thought and activism. Second, if one sets in the foreground this competing narrative, there emerges a weak thesis, whether or not a plausible complementarity between the communications critical social theory and concrete existential categories can be established. Third, one may inquire further into a stronger thesis whether or not this link must be developed in order to render Habermas’ own theory of a communicatively competent self sufficiently concrete and critical. (shrink)

The present text sets out to determine the relationships between the concepts of despair and selfhood in Søren Kierkegaard's Sikness unto Death. For this, a hermeneutic, as exhaustive as possible, is applied to the discernment of the concept itself, to later relate it to what the Danish calls despair. After clarifying the relationship between both concepts, examples of the desperate Kierkegaardian man abound in order to verify the irremediable discordance between the constituent elements of the self-given, his unresolved relationship with (...) God. (shrink)

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

As a contribution to a critical yet responsive materialist ethics of environments and animals, I reexamine the significance of nature and animals in the critical social theory of Theodor Adorno. In response to the anthropocentric primacy of intersubjective discourse and recognition in recent figures associated with the Frankfurt School, such as Habermas and Honneth, I argue for the ecological import of the aporetic dialectic of nature and society diagnosed in Adorno and Horkheimer’s Dialectic of Enlightenment and Adorno’s later works. Adorno’s (...) continuing confrontation with the “domination of nature” traces the tensions between the ideological construction and resistance of “nature” as well as the instrumentalization and implicit disruptive promise of sensuous life. It indicates the material and bodily bonds between human and animal happiness and suffering, the ambiguous role of mimesis in domination and emancipation, and the critical prospect of an unforced and non-coercive freedom toward the object and answerability toward socially and historically mediated yet non-identical natural life. (shrink)

This article examines Adorno’s use of the notion of mediation, which at first glance appears to be problematic and aporetic. While the emergence of such a concept marks Adorno’s renewed interest in Hegelian philosophy, and a distancing from Walter Benjamin’s thought, the understanding of mediation should not be reduced to the Hegelian model. This article will argue that Adorno introduces such a concept to explain theory’s necessity and verifiability, as well as the experience of the object. Only by taking these (...) two issues (the mediation between concepts and between subject and object) in their interconnection is it possible to explain the role of mediation in Adorno. I will argue that the idea of ‘constellations’ put forward in the Dialectics furnishes us with a model of mediation that goes beyond its original Hegelian formulation. (shrink)

Authenticity as an ideal is construed in general as an expression of existentialist unhappiness with the perceived dehumanization of man in modern society. Existential journalism can be seen as rejection of the demands of conformism and compromise of personal convictions that many journalists face. Ethically, existential journalism calls on journalists to live authentic lives, as private individuals as well as in their profession. This means to resist external pressures and to choose to follow a path that can be defended by (...) the individual journalist's inner conscience. Existential journalism, in general, has been more debated in the field of mass media ethics than authenticity. Authenticity is, however, a contested concept, and this essay applies a critical discussion about authenticity as an ethical guide to the field of journalism. Weaknesses in the idea of existential authenticity problematize the existential construal of authenticity as a route to heightened ethical awareness for contemporary journalists. (shrink)

The question ‘How does a person make an ethical decision?’ becomes all the more compelling and problematic when trying to behave ethically during, as A ́ gnes Heller puts it, ‘the total breakdown of ‘‘normal’’ ethical worlds’. In her philosophical work Heller pieces together a moral compass internal to individual subjectivity to employ during such times. Kierkegaard’s model of existential choice has played a formative role in Heller’s solution to the problem. In my article I describe Heller’s Kierkegaardian framework of (...) choosing oneself as an ethical being and consider a recent critique of Heller’s Kierke- gaardian ethics of personality by Richard J. Bernstein, continuing the substantively pro- ductive tension between the irrational and rational forces that determine our ethical actions. In the process, I show common ground between Bernstein and Heller through an appropriation of Arendtian judgment. I turn to Heller’s most recent work in The Concept of the Beautiful in order to make this common ground tangible. (shrink)

Helping more than “a little”: recent books on Kierkegaard and philosophy of religion Content Type Journal Article Category Book Review Pages 1-16 DOI 10.1007/s11153-012-9345-6 Authors J. Aaron Simmons, Department of Philosophy, Furman University, 3300 Poinsett Hwy, Greenville, SC 29613, USA Journal International Journal for Philosophy of Religion Online ISSN 1572-8684 Print ISSN 0020-7047.

In “Scientific Experiences of a European Scholar in America,” Adorno likens his early trips from New York City to a previously abandoned New Jersey brewery, the site of the Princeton Radio Research Project, to Kafka's story about the “Great Natural Theater of Oklahama [sic]” at the end of the novel Amerika (German title: Der Verschollene). It is easy enough to account for this association. The natural theater story tells of Karl Rossmann's hire and transportation by train to a kind of (...) circus in the American dustbowl. Rossmann is a European immigrant in search of refuge. It is, however, a highly…. (shrink)

This article argues that the figure of Oedipus lies at the heart of Horkheimer and Adorno's Dialectic of Enlightenment. Oedipus is the prototypical Aufklärer as no one can rival him in his courageous attempt to employ his own autonomous reason `without direction from another'; yet self-knowledge remains beyond his grasp. Indeed, Oedipus' obsessive drive to bring the truth to light ultimately leads him to put out his own eyes because he is unable to bear the sight of the catastrophe that (...) this drive engenders. Oedipus' demise represents in allegorical form the self-destruction of enlightenment itself. Enlightenment is similarly driven to illuminate the world in its totality by reducing it to philosophical concepts. In the process, however, it becomes blind to the question of its dependence upon that which it purports to possess. In its attempt at total illumination, therefore, enlightenment does not effectuate an exit or Ausgang from the opacity of myth, as Kant had held, but rather is blinded, paradoxically, by the radiance of its own projections. Reading the dialectic of enlightenment through the tragedy of Oedipus leads back to the enigmatic question of art as the means by which the rationalization and disenchantment of the world can be reflected upon critically. (shrink)

I seek to draw out the unique character of Levinas’ theory of recognition by highlighting its transitional character in a double sense. It is transitional, firstly, in that it stands between two models of recognition: the earlier agonistic model of Kojeve and the later model of Honneth which takes as its point of departure a primordial relation of mutual affirmation between individuals. It is transitional secondly in the sense that, while Levinas initially employs the concept of recognition, he is later (...) explicit in his rejection of it. The interest of Levinas’ transitional model of recognition for the philosophy of religion is that Levinas negotiates both transitions by calling on archetypes borrowed from the Jewish tradition. An exploration of this model thus provides us with a fresh vantage point from which to address anew the question of the articulation of social philosophy and the philosophy of religion in his work. (shrink)