Focusing on the notion of the subject in Sartre's and Adorno's philosophies, David Sherman argues that they offer complementary accounts of the subject that ...

For some time now a number of critics have argued that Juergen Habermas has misinterpreted Freud. The gist of this criticism is that Habermas' interpretation of psychoanalysis as `depth hermeneutics' must violate the intent of Freud's work, which is so deeply grounded in drive theory. In other words, Habermas confuses philosophical reflection with psychoanalysis. This paper takes a somewhat different focus. It examines the consequences of Habermas' interpretation of Freud for Habermas' view of the individual. It is shown that Habermas' (...) interpretation eventuates in an abstract and shadowy view of the individual. It is argued that an alternative view of psychoanalysis, object relations theory, can help locate the source of Habermas' pale view of the individual, and help correct it, without succumbing to `neo-Freudian revisionism'. Object relations theory also suggests that in order to overcome the diminution of the individual in real life it is necessary for political theory to examine seriously the role of the family. Finally, object relations theory generates an interesting criticism of so-called postmodern psychoanalysis—for example, the work of Jacques Lacan. This criticism can help us better understand the relationship between Habermas and modernism. (shrink)

Jürgen Habermas’ characterization of Adorno’s project as an aestheticization of philosophy continues to influence our reading of his work. In contradiction to Lambert Zuidervaart, who suggests that in order to be understood as politically relevant, Adorno’s philosophy must be supplemented with empirical research, I argue in this article that Adorno’s work contains many of the resources we would need to theorize an ethical politics. First, it both identifies the moral debt carried by the subject and addresses the need for social (...) transformation in order to change this situation. Second, it proposes an ethical comportment of self-relinquishment as a first step towards this reorganization of the social. The self-relinquishment of philosophy to its object is modeled upon aesthetic experience, which, according to Adorno, we must regard as a remorseful atonement for the subject’s domination of the object in its attempt to ‘wrest itself free’ ( Aesthetic Theory, 1997c: 112) of undifferentiated being. By incorporating into philosophical thought the mimetic bodily impulses tamed by aesthetic form, we may engender within ourselves a solidarity with objectivity. Rather than the self-possessing and conservative subject that constitutes its world mentally, Adorno theorizes a subject for whom thinking is a temporalization or a becoming. Thinking produces otherness within the subject itself. In this thinking-as-becoming, we see the beginnings of a highly individuated political subjectivity capable of acting in solidarity with the other. This brings us to the third element within Adorno’s philosophy that can serve us in formulating an ethical politics: the non-violent organizational principle of the modern work of art. In mobilizing the logic of the modern work of art, the autonomous individual is empowered to forge a politics that preserves contradiction in the facilitation of a non-violent relation with others. (shrink)

The advent of an unregulated and financial form of capitalism, combined with a sharp rise in income inequalities and economic insecurity since the 1970s, appears to pose, at first glance, a significant challenge for the relevance of the works of first-generation critical theorists, which are often confined to an historically specific ‘artistic’ critique of the bureaucratic stage of capitalist development. Through an analysis of the various concerns and demands expressed by members of the alter-globalization and Occupy movements, the article nevertheless (...) aims to demonstrate that first-generation critical theory can continue to play a significant role in conceptualizing contemporary forms of resistance by: (1) capturing the social malaise engendered by neoliberal capitalism; and (2) informing the practice of resistance in contemporary capitalist societies. (shrink)

Adorno’s critical theory aims to open space for the expression of alternative futures, but its insistence on dialectical reflection encourages at the same time our sustained attentiveness to the psychic and material constraints that may prevent the very possibilities we imagine. In this article, I argue that dialectical reflection signals a location at which transcendental claims enter our thinking and that, for Adorno, such reflection provides a locus for a critically animating interplay between rhetorical figurations of darkness and redemption, or (...) material constraint and alternative possibility. Concerned less with the substance of Adorno’s criticisms than with how his dialectical mode of thinking can be said to shape critical reflection as such, I suggest that Adorno provides a model orientation for democratic engagement in our time and a sobering critical supplement to recent Derridean discourse on radical democracy. (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)

This article examines Adorno’s re-conceptualisation of the traditional concept of the sublime, arguing that for Adorno the sublime aesthetic experience foregrounds an awareness of non-identity and the “priority of the object.” For Adorno, tears, shudders, and the emotions of shock and terror remain authentic responses to artworks because they remind the ego of its affinity with nature. Adorno’s treatment of the sublime in modern art and in relation to his theory of the dialectic of enlightenment invites a radical critique of (...) the claim of reason to autonomy and control. His notion of the sublime is illustrated by the performance work of Franko B as a contemporary example of the confrontation with the bodily sublime, which produces a “limit-experience,” a mode of subjective decentring as a result of our exposure to the impossible and the formless. While Adorno’s “negative” sublime is devoid of reconciliatory metaphysical meaning, it calls forth an altered subjectivity that opposes the wit... (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)

This paper provides a critical interpretation of the theme, point, and methodological status of Adorno’s so-called negative dialectic. The theme at issue, ‘non-identity’, comes in several varieties; and the point of Adorno’s dialectic, namely reconciliation, is multifaceted. Exploration of those topics shows that negative dialectic seques into substantive doctrines, including a version of transcendentalism and a claim about deformation. The peculiar methodological status of negative dialectic explains that adumbration. In the appraisive register, my principal contentions include these: Adorno’s transcendentalism makes (...) some sense of the aforementioned deformation claim; and negative dialectic qua method avoids mystery and metaphysical excess. (shrink)

Organized across national boundaries and with millions of supporters worldwide, transnational environmental activist groups such as Greenpeace, the World Wildlife Fund, and Friends of the Earth play a central role in the way the world addresses environmental issues. This book provides the most systematic and theoretically informed study to date of the strategies these organizations use to advance global environmental protection. Based on case studies of three transnational groups, it argues that in addition to lobbying governments, activists operate within and (...) across societies to effect widespread change. They work through transnational social, economic, and cultural networks to alter corporate practices, educate vast numbers of people, pressure multilateral development banks, and shift standards of good conduct. Wapner argues that because this activity takes place outside the formal arena of inter-state politics, environmental activists practice "world civic politics"; they politicize global civil society. The theoretical import of this book is to bring the practice of world civic politics into sharp relief and generalize its significance beyond environmental affairs to explain the efforts of all NGOs in world politics. (shrink)

This article aims to contribute to the question of how to conceptualise the relationship between theory and practice in feminist scholarship in law. It looks in detail at the implications of different issues raised in a recent debate between Anne Bottomley and Ngaire Naffine on the existence of a “legal feminist orthodoxy”. I critique the dominance of ethics over politics and join Bottomley in her attack upon “the ethics of respect for the other”, albeit from a different position. I then (...) look at the ways in which the problem of “essentialism” is being rethought from a feminist perspective. (shrink)

This paper takes up Adorno’s aesthetics as a dialectic between philosophy and art. In doing so, I argue that art provides a unique way of mediating between theory and practice, between concepts and experience, and between subjectivity and objectivity, because in art these relations are flexible and left open to interpretation, which allows a form of thinking that can point beyond itself. Adorno thus uses reflection on art as a corrective for philosophy and its tendency towards ideology.

Although Adorno and Levinas share many arguments, I attempt to sharpen and evaluate their disagreements. Both held extreme and seemingly opposite views of art, with Adorno arguing that art presents modernity’s highest order of truth and Levinas denouncing it as shameful idolatry. Considering this striking difference brings to light fundamental substantive and methodological incompatibilities between them. Levinas’ assertion of the transcendence of the face should be understood as the most telling point of departure between his and Adorno’s critiques of instrumental (...) reason. I attempt to explain why Levinas believed this move was justifiable and how Adorno would understand Levinas’ notion of illeity as a cultural byproduct and a form of dogmatism. Adorno’s historical and sociological account of the disenchantment of the world and the destruction of aura within a culture fully administered by scientific rationality and economic reductionism sharply contrasts to Levinas’ transcendental phenomenology, and I argue that Adorno’s thoroughgoing refusal to constrain dialectical reflection is ultimately more compelling. (shrink)

This thesis has two principal aims: to demonstrate the centrality of memory to the philosophy and aesthetics of T. W. Adorno, and to assess its philosophical significance. Although in recent years Adorno's work has been the object of increased scrutiny within Anglo-American philosophical circles, as yet little sustained attention has been devoted to the concept of memory within Adorno's oeuvre. However, in Dialectic of Enlightenment Adorno and Horkheimer proclaimed that it is "by virtue of this memory of nature in the (...) subject" that "enlightenment is universally opposed to domination. "Given that all of Adorno's work is concerned to redeem enlightenment from domination, the importance of a philosophical interpretation of the concept of memory is pivotal for an engagement with the legacy of Adorno's thought today. It will be argued that, for Adorno, memory always operates in relation to reification. The construal of this relation enjoins the consideration of a number of significant categories within Adorno's work: notably tradition, experience, mimesis and utopia; and further, it serves to situate and distance Adorno from those thinkers - Kant, Hegel, Heidegger and Benjamin - with whom he incessantly engages. Finally, by focusing on the relation between memory and reification, one can gauge the stakes of the Habermasian critique of Adorno, for it is Adorno's understanding of reconciliation as the "remembrance of nature in the subject" that is the crux of the agon between Habermas and Adorno. I will argue that it is Habermas's failure to fully engage with the ramifications of Adorno's concept of memory that vitiates his critique, and indeed, that this failure provides the means for an Adornian critique of Haberman. It will be argued that memory is not an object of Adornian thought, but rather, that it provides the utopian texture of that thought. (shrink)