Este libro promete ser una contribución para el estudio de la teoría crítica en general y para el análisis de la historia de la Escuela de Frankfurt en particular. Todos los trabajos que están contenidos en este volumen hacen parte del amplio marco teórico de la teoría crítica de la sociedad. Muchos siguen las huellas de los fundadores de esta tendencia, mientras que otros se presentan como críticos de la misma y unos cuantos más tratan de vincular problemas y contextos (...) de relevancia a los conceptos más destacados que se empezaron a construir hace cien años en Frankfurt. Encontramos como buena excusa para su publicación precisamente el año centenario del Instituto de Investigación Social. Además, hemos creído conveniente organizar los materiales en secciones que van desde la historia de la Escuela de Frankfurt hasta la consideración de algunos interrogantes de actualidad motivados por el desarrollo de la teoría crítica. No obstante, con esto no pretendemos establecer límites absolutos de clasificación. Confesamos que nuestra forma de organizar los ensayos responde simplemente a criterios editoriales más que a cuestiones teóricas y conceptuales. Claramente las intersecciones entre los estudios aquí presentados son amplias y hacen que cada una de las propuestas pueda dialogar con las otras en función de sus evidentes parecidos de familia. (shrink)

Adorno's philosophical writings on music are notably focused on the new, invested in positioning the challenging avant‐garde works of Schoenberg, Berg, and Webern as the modernist mainstream. Nevertheless, Adorno's relationship with this “Second Viennese School” of composers was characterized by ongoing complexities, contradictions, and dissonances. His conflicted position is theorized here on multiple levels, considering not only Adorno's mature philosophy of the New Music, but his own musical‐creative output, and his relationships with the members of the Second Viennese School; a (...) group he was intimately connected to and distinct from at once. As his composition teacher, Berg was particularly influential in shaping Adorno's compositional activity and stance as simultaneously a champion and critic of Schoenberg. Adorno attempted to apply Schoenberg's twelve‐tone technique within his own compositions, recognizing its promise, yet from early on he had growing critical and compositional reservations concerning the method's restrictions. Though Adorno's writings from the 1930s defend Schoenberg and the twelve‐tone technique, by the end of the following decade, his Philosophy of New Music (2006 [1949]) expounds his critique of the method for its eschewal of the freedom of Expressionism. The impact of the Philosophy of New Music in the wake of the Second World War was both greater than and different from what Adorno could have expected. His message that the twelve‐tone method came at the cost of expressivity was largely missed by the subsequent generation of avant‐garde composers, the “Darmstadt School,” who understood the book as philosophical and theoretical basis for their extended exploration of music's serial systematization. (shrink)

A presente obra assume-se como um projeto genuinamente interdisciplinar de reflexão ética, interrogando os seus fundamentos e explorando as suas interseções com diversas áreas das Ciências Humanas e Sociais. Reunindo especialistas de distintas áreas, oriundos de países diferentes, o livro tem como fio condutor um diálogo polifónico com o pensamento ético contemporâneo, enraizando-se na tradição crítica que procura refundar a racionalidade prática na construção humana de sentido e, por conseguinte, refutar o niilismo e o relativismo axiológico absoluto.

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

One of the reasons why critical discourse analysis calls itself critical is because its perspectives of discourse and society are derived largely from critical social theory. Transferring these perspectives to educational contexts requires that teachers develop workable pedagogic frameworks and procedures which apply CDA principles and practices to the reading and discussion of texts in the classroom. If these are to be considered ‘critical’, it seems useful that these are also derived from critical social theory. This type of critical theorisation (...) seems to be underdeveloped in a CDA which relies principally on systemic functional linguistics for its procedural attitude to the text. This paper suggests a possible development of this space in which exegetic procedure and discussion are theorised from critical perspectives in the thought of Adorno, Derrida and Habermas, and according to systemic perspectives in the work of Foucault. The paper also presents a framework of analysis for use by teachers and students which is based on these perspectives. (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)

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 thesis examines the Platonic brand in utopian fiction. It looks at Plato's dialogues, H. G Wells' A Modern Utopia and Aldous Huxley's Brave New World. The modern texts provide opportunities to observe the effects of ideas found in the dialogues, helping illustrate their implications for the Platonic utopia. Understanding the implications of Plato's textual criticism found in his dialogues is indispensable in understanding how his dialogues are to be understood and what may be understood to be his utopia. This (...) thesis is divided into four chapters; the first two chapters are further divided into sub-headings to assist with navigation of the argument. The first chapter isolates meaning from vocabulary and sets out Socrates' understanding of the relationship between the two entities. The second chapter proceeds to set out Socrates understanding of the hermeneutic effect on the interplay of his dialectic and interlocutors. The third chapter sets out how Socrates seeks to mitigate the distortion of articulated ideas. The fourth chapter concludes the argument stating that Plato's dialogues can only be understood as a unity, that his utopia cannot have a finality, instead it is fluid, free, continuing, Socratic, dialectic. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Veblen's concept of conspicuous consumption, although widely known and commonly invoked, has rarely been examined critically; the associated "theory" has never been tested. It is suggested that the reason for this lies in the difficulty of determining the criterion that defines the phenomenon, a difficulty that derives from Veblen's failure to integrate two contrasting conceptual formulations. These are, first, an interpretive or subjective version that conceives of conspicuous consumption as action marked by the presence of certain intentions, purposes, or motives, (...) and second, a functionalist formulation in which conspicuous consumption is viewed as a form of behavior characterized by particular end results or outcomes. Consideration of each of these strands reveals major difficulties that prevent the construction of an operational definition of conspicuous consumption and hence the extraction of a workable theory from Veblen's discussion. (shrink)

This article examines the rise of meta-commentary in US media, and considers the consequences it has for the social construction and the performance of intellectual expertise. Media meta-commentary is defined as critical reflection about media practices and performances, in which the primary basis for criticism is the comparison of different media formats. Meta-commentary began to emerge with the differentiation of the aesthetic sphere and the development of a new kind of expert, the cultural critic. Cultural criticism led to a proliferation (...) of expert performance styles, including a type of counter-performance that rejects the somber and serious nature of traditional intellectual practices. By the 1980s, these new styles of intellectual performance were being reinforced by important institutional and regulatory changes within the media industry, and ultimately by the proliferation of new digital technologies and DIY culture. By the twenty-first century, media meta-commentary had become a distinctive and peculiar form of expert discourse, which legitimates the act of criticism while also relativizing it. The current environment suggests two possible outcomes: a hopeful one that encourages greater reflexivity, and a more ominous one that points toward populism. (shrink)

To date, the primary focus of research in the field of corporate social responsibility (CSR) has been on the strategic implications of CSR for corporations and less on an evaluation of CSR from a wider political, economic and social perspective. In this paper, we aim to address this gap by critically engaging with marketing campaigns of so‐called ‘ethical’ bottled water. We especially focus on a major CSR strategy of a range of different companies that promise to provide drinking water for (...) (what they name as) ‘poor African people’ by way of Western consumers purchasing bottled water. Following Fairclough's approach, we unfold a three‐step critical discourse analysis of the marketing campaigns of 10 such ‘ethical’ brands. Our results show that bottled water companies try to influence consumers' tastes through the management of the cultural meaning of bottled water, producing a more ‘ethical’ and ‘socially responsible’ perception of their products/brands. Theoretically, we base our analysis on McCracken's model of the cultural meaning of consumer goods, which, we argue, offers a critical perspective of the recent emergence of CSR and business ethics initiatives. We discuss how these marketing campaigns can be framed as historical struggles associated with neo‐liberal ideology and hegemony. Our analysis demonstrates how such CSR strategies are part of a general process of the reproduction of capitalist modes of accumulation and legitimation through the usage of cultural categories. (shrink)

‘Immanent criticism' has been discussed by philosophers of quite different persuasions, working in separate areas and in different traditions of philosophy. Almost all of them agree on roughly the same story about its origins: It is that Hegel invented immanent criticism, that Marx later developed it, and that the various members of the Frankfurt School, particularly Adorno, refined it in various ways, and that they are all paradigmatic practitioners of immanent criticism. I call this the Continuity Thesis. There are four (...) different claims that interest me. Hegel is the originator of immanent criticism. Hegel's dialectical method is that of immanent criticism. Adorno practises immanent criticism and endorses the term as a description of his practice. Adorno's dialectical method is fundamentally Hegelian. In this article, I offer an account of immanent criticism, on the basis of which, I evaluate these four claims and argue that the Continuity Thesis should be rejected. (shrink)

Adorno’s commitment to anti-foundationalism generates a concern over how his ethically normative appraisals of social phenomena can be founded. Drawing on both Kohlmann and Bernstein’s account, I produce a new reading which contends somatic impulses are capable of bearing intrinsically normative epistemic and moral content. This entails a new way of understanding Adorno’s contention that Auschwitz produced a new categorical imperative. Working with Bernstein’s account, I claim that Auschwitz makes manifest the hostility of the instrumentalization of reason to the somatic (...) grounds of reason. One’s mimetic identification with the victims of Auschwitz arouses a self-preserving desire to intercede in and re-orient the progress of reason itself, for the sake of one’s own somatic integrity. In closing, I claim – contra Zuidervaart – that this reading allows us to place the ethical as primary in Adorno, without reducing the political to it. (shrink)

This essay explores the use of the concept of the messianic by Giorgio Agamben and Theodor Adorno. Throughout his work, Agamben consistently presents his reading of the messianic as an alternative to what he considers to be the ‘pessimistic’ negative dialectics of Adorno, which he argues ‘is an absolutely non-messianic form of thought’. For Agamben, the messianic brings dialectics to a ‘standstill’. This essay analyzes this deployment of the ‘messianic’ in his thought, and contrasts it with the perspective of Adorno. (...) Agamben’s interpretation of Walter Benjamin is challenged with reference to a debate between Adorno and Benjamin over theology, dialectics, and politics. (shrink)

Adorno's saying that ‘art is the promise of happiness’ radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with (...) and throws into relief the antagonistic nature of society. The trouble is that this answer is flatly incompatible with Adorno's historicism and central components of his aesthetic modernism, including his critique of classicism, and his negativism. I propose a re-interpretation of Adorno's thesis that art is the promise of happiness that overcomes these difficulties. (shrink)

The thesis examines the nature of the "real" in the cinema; I overview the theories that are historically used, and offer some alternative models. First, I survey how the "real" has been traditionally theorized in film theory. The realist/anti-realist debate is addressed; the psycholinguistic theory of Jacques Lacan and Jean Baudrillard's postmodern model of the hyperreal are reexamined in light of their profound effect on film theory's model of the cinematic "real." I argue against these theories as models of spectatorship (...) and the "real" because of their hermetic nature. (shrink)

The value of the arts is often measured in terms of human creativity against instrumental rationality, while art for art's sake defends against a utility of art. Such critiques of the technical and formulaic are themselves formulaic, repeating the dualism of the head and the heart. How should we account for this formula? We should do so by investigating its determination within metaphysical and social relations, ancient and modern, and by comprehending the notion of freedom carried therein. This opens up (...) the value of the arts to a modern metaphysics and modern notion of freedom. This value, and this freedom, find currency in a notion of philosophical and political education, and especially in a modern conception of liberal arts education, where freedom is to learn. (shrink)

In the last years of his life, Michel Foucault sought to address ?ethical? questions, having to do with the self's relation to itself, by trying to locate in the Roman Stoics and other philosophers of antiquity what he called ?an aesthetics of existence.? By this Foucault meant ?the idea of a self which has to be created as a work of art.? This article aims at a critical dialogue with the texts that compose this last phase of Foucault's thought, probing (...) the moral and political adequacy of Foucault's Nietzschean vision of the self's aesthetic self?creation. (shrink)

Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, Friedrich (...) Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

This paper explores the relationship between the thought of Theodor W. Adorno and Jiddu Krishnamurti. It focuses upon how both thinkers employ a determinately negative epistemology and revise Hegelian dialectics as a manner of ratiocination to resolve socio-political problems. It is argued that Krishnamurti’s negative epistemology is rendered more robust when read along with Adorno’s critical theory, aesthetic theory, and notions of negative dialectics and non-identity thinking. It is hoped that this synthesis of thought raises the possibility for ongoing creative (...) responses to contemporary socio-political challenges over and above either political demonstration or intellectual retreat. (shrink)

Abstract That current ideals of cognition impoverish experience is a classical observation, and complaint, of the early Frankfurt School. Adorno reacts to this phenomenon in several ways, among them his conception of metaphysical experiences. Metaphysical experiences are conventionally understood as promissory notes, as metaphors for rich experiences. This article takes a different view of metaphysical experiences. It discusses them in light of Adorno's notion that objects have priority in experience and of his further remark that metaphysical experiences are constituted by (...) error. It argues that rather than promissory notes or metaphors for rich experiences, metaphysical experiences are attempts at taking things literally. (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 subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. 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-Second World War is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed storytelling 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)

Following the distinctions made by Susan Pearce between souvenir collections, fetishism collections and systematic collections, the present study will underline the idea that, for Walter Benjamin, collection was a way to reconnect with the past and to reconstruct an image of what was destroyed. Every object collected by Benjamin was for him a souvenir of the European cultural identity.

For some time, the role of culture in language education within schools, universities and professional communication has received increasing attention. This article identifies two aporias in the discourse of intercultural communication : first, that it contains an unstated movement towards a universal consciousness; second, that its claims to truth are grounded in an implicit appeal to a transcendental moral signified.These features constitute IC discourse as ‘totality’, or as ‘metaphysics of presence’.The article draws on the work of Levinas ; and Derrida (...) to propose more considered ethical grounds for intercultural praxis. Contra a Hegelian impetus towards universal consciousness,we posit an irreducible distance and separation between the self and other. In so doing, not only are we able to supersede the field’s implicit appeal to the transcendental as a source of truth but also to counter perceptibly ‘exorbitant’ claims and actions of the intercultural other. In this vein, the article proposes a discourse ethics of responsibility by which it still becomes possible for a critical intercultural praxis to make value judgements and to take potentially transformative action vis-à-vis cultural acts that challenge the limits of intercultural tolerance and hospitality. (shrink)

This paper explores the ways in which a fuller attention to suffering in the tradition of the early Frankfurt School might valuably inform international political thought. Recent poststructural writing argues that trauma is silenced to prevent it disrupting narratives of order and progress and instead advocates a continual ‘encircling’ of trauma that refuses incorporation into a broader historical narrative. This paper welcomes this challenge to mainstream international ethics: attention to particular suffering provides an important challenge to the abstraction, instrumentalism and (...) universalism of modernity. However, if we simply mark trauma and refuse to incorporate it into any kind of narrative, we cannot profit from the ways in which suffering can illuminate the structures and ways of thinking that create it. Drawing on Adorno's negative dialectics, the paper argues that a dialectical understanding of the relationship between universalising order and disrupting particularity can lead from individual suffering towards a political re-engagement with the universal. (shrink)

In this paper, we demonstrate that the works of Franz Kafka provide an exemplary resource for the investigation of “moral distance” in organizational ethics. We accomplish this in two ways, first by drawing on Kafka’s work to navigate the complexities of the debate over the ethics of bureaucracy, using his work to expand and enrich the concept of “moral distance.” Second, Kafka’s work is used to investigate the existence of “ethical violence” within organizations which entails acts of condemnation and cruelty (...) purportedly in the name of ethics. Kafka’s work provides insight into the processes of moral distancing across a range of organizational contexts including highly formal as well as more informal settings. The paper enriches the concept “moral distance” by identifying the existence of facilitators of moral distance beyond the mechanisms of formal rationality that have been the focus of existing studies. We argue that Kafka’s intense portrayal of “ethical violence” points to an aporia at the very heart of organizational ethics. (shrink)

To date, the primary focus of research in the field of corporate social responsibility (CSR) has been on the strategic implications of CSR for corporations and less on an evaluation of CSR from a wider political, economic and social perspective. In this paper, we aim to address this gap by critically engaging with marketing campaigns of so-called ‘ethical’ bottled water. We especially focus on a major CSR strategy of a range of different companies that promise to provide drinking water for (...) (what they name as) ‘poor African people’ by way of Western consumers purchasing bottled water. Following Fairclough's approach, we unfold a three-step critical discourse analysis of the marketing campaigns of 10 such ‘ethical’ brands. Our results show that bottled water companies try to influence consumers' tastes through the management of the cultural meaning of bottled water, producing a more ‘ethical’ and ‘socially responsible’ perception of their products/brands. Theoretically, we base our analysis on McCracken's model of the cultural meaning of consumer goods, which, we argue, offers a critical perspective of the recent emergence of CSR and business ethics initiatives. We discuss how these marketing campaigns can be framed as historical struggles associated with neo-liberal ideology and hegemony. Our analysis demonstrates how such CSR strategies are part of a general process of the reproduction of capitalist modes of accumulation and legitimation through the usage of cultural categories. (shrink)

When a forgotten mural painted by the Jewish-Polish artist Bruno Schulz was rediscovered in 2001 a string of legal issues were unravelled. Who could rightfully claim ownership to this work of art? Was it the Holocaust museum Yad Vashem in Jerusalem, because Schulz was a Jew killed by the Nazis, and because it is a museum that has the means, experience and know-how to restore and preserve the work properly? Or Ukraine on whose sovereign soil it had been found? Or (...) Poland whose citizen Schulz had been? When five fragments of the newly discovered mural, which had already been restored to a certain extent by Polish conservationists, were taken to Israel by Yad Vashem representatives it resulted in political outrage. The incident illustrates how certain artistic works fall through the cracks in the law especially when it comes to the multi-faceted needs of the artworks in a globalised world. This article illustrates the weaknesses in various legislations dealing with ownership and access to art, mainly intellectual property law. It is argued that current regulation is sometimes ineffectual and must be discussed in order to cater for all the various aspects and needs of art and the public interest in it. (shrink)

Spengler’s The Decline of the West was a major publishing success in Weimar Germany. The study presents the end of Western civilization as an inevitable process of birth, maturity and death. Civilization is conceived as an inflexible ‘morphology’. Spengler’s thinking was influenced by a profound distaste with the optimism of the Belle Epoque, which he found to be complacent. The argument had a good deal of attraction to readers, especially German readers, who were suffering under the ‘Carthaginian Peace’ of the (...) Treaty of Versailles of 1919. Adorno and others were critical of Spengler’s thesis. The article examines Spengler’s thesis and its implications for the West today. (shrink)

Despite its central focus on human freedom and individual and social emancipation, critical realism has remained surprisingly quiet on the subject of authenticity. Drawing on a review of critical realist metatheory, and a study of authentic performance in the illuminating cultural context of Early Music, this paper seeks to address this gap by exploring the significance of authenticity in today's morphogenetic society. Real authenticity is introduced as the universal human capacity to reflexively manage the inherent contradictions that arise between and (...) across our intra- and interpersonal relationships at different levels of reality. It is this dialectical, phronetic capacity that determines whether acting in line with our ultimate concerns is both good for us as individuals and the organization of better futures for all. Managing real authenticity, therefore, must be considered at the core of any possible transition theory for human flourishing. (shrink)

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)

The title of this article is adapted from Theodor W. Adorno’s famous dictum: ‘To write poetry after Auschwitz is barbaric.’ After the catastrophic earthquake in Kocaeli, Turkey on the 17th of August 1999, in which more than 40,000 people died or were lost, Necdet Teymur, who was then the dean of the Faculty of Architecture of the Middle East Technical University, referred to Adorno in one of his ‘earthquake poems’ and asked: ‘Is architecture possible after 17th of August?’ The main (...) objective of this article is to interpret Teymur’s question in respect of its connection to Adorno’s philosophy with a view to make a contribution to the politics and ethics of architecture in Turkey. Teymur’s question helps in providing a new interpretation of a critical approach to architecture and architectural technology through Adorno’s philosophy. The paper also presents a discussion of Adorno`s dictum, which serves for a better understanding of its universality/particularity. (shrink)

My thesis concerns the fate of the spiritual capacities of human beings in the time of digital media systems in relation to the work of Bernard Stiegler. Stiegler’s framing of the problem is situated within his ambigious, or pharmacological, approach to technology, in which it is simultaneously poison and cure. It is also founded on his notion of ‘originary technicity’, in which humanity and technology ‘invent’ each other. Both avoid a reductive reading of human-technological relations. Stiegler’s account of subjectivity is (...) one founded on the linguistic, philosophical and sociological notions of agency whereby the self is conceived as a performance within the symbolic and aesthetic order of culture. This performance necessitates a public stage akin to that of the Greek tragic age that allows its audience to reflect upon and question their society in order for the society to remain ethically reflexive. Yet, the growth of mass culture and global consumerism threatens this reflexivity and must be recovered. The generalized proletarianization of the consumer age is one that compromises the acting out of spirit due to the exhaustion of human drives. Furthermore, the social fabric, as with the fabric of the self, is a composition of tendencies, a ‘weaving’ of social bonds that is created by society and its individuals. Therefore, as with the reflexive public stage, society must have the requisite knowledge and ability to interpret and create this production of the social. In a digital age, this must now be a society of ‘image-readers’. By looking at Stiegler’s theorizing of a new contributive economy, I examine the elevating possibilities that can come out of the disindividuating processes of hyper-industrial, consumer-driven technology, and, therefore, what spiritually expressive and transformative performances of self, and society, digital media enable. I argue the aesthetic performance of the self must be one in which the individual is an amateur artist aware of the reflexive social stage that digital platforms provide. (shrink)

This article deals with Kurt Wolff’s interpretation of Karl Mannheim, with reference to his writings on social planning. Wolff’s interpretation is presented and discussed in the context provided by other interpreters of Mannheim. They have, generally speaking, given scant attention to the late works by Mannheim, and rather focused on Ideology and Utopia, Mannheim’s most celebrated work. Interpreters who have considered these writings on planning have been mostly or entirely critical of them, objecting to their vagueness and inadequacy as a (...) project of social reform, and the unsatisfactory conceptualization of the élites. These objections have been raised by several interpreters of different ideological persuasions, from the Marxist thinkers Adorno and Lukacs to the conservative T.S. Eliot. Wolff’s interpretation stands out in that it pays less attention to the social and political contents of Mannheim’s reform project, but brings into light its psychological background; namely, the deep anguish Mannheim experienced because of the widespread tendencies to the formation of a mass society, prone to the forces of irrationalism and authoritarianism. A perusal of Mannheim’s works on planning bears out Wolff’s interpretation. (shrink)