PUCCIARELLI, Daniel. Materialismus und Kritik: Konzept, Aussichten und Grenzen des Materialismus um Ausgang von der Negativen Dialektik Theodor W. Adornos. Würzburg: Königshausen & Neumann, 2019.

To make Adorno’s difficult notion of “identity thinking” more amendable to sociological research, this project brings his Negative Dialectics into conversation with Schutz’s theory of typification. When revised with Adorno’s attention to political economy and the pathologies of reification, Schutz’s framework allows for an analysis of identity thinking in everyday life. Both theorists argue that categories of thought: automatically subsume objects for pragmatic yet socially conditioned reasons, are socially formed, transferred, and selected, and suppress particularizing characteristics of objects. Their overlapping (...) arguments are cross-fertilized to propose a critical approach to cognitive sociology that can engage in a form of ideology critique that illuminates forms of thinking that conceal social contradictions. This approach is useful for explaining the “mundane dialectic of enlightenment”: the daily reproduction of unreflective rationalization that breeds irrationality in the form of social domination and environmental harm, a contradiction which finds its ultimate expression in climate change inaction. (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one is (...) to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

The question of why bad things happen (to good people) has puzzled individuals over generations and across different cultures. The most popular approach is to turn the issue into a question about God: Why does he allow bad things that lead to the suffering of often innocent bystanders? Some have drawn conclusions that there can be no God. These attempts that seek to find meaning in suffering are called theodicies. Thus, theodicies promise that the torment of the innocent is not (...) in vain. In this article, I argue that theodicy as a viewpoint, independent of its intention, does injustice to the experience of the sufferer. Furthermore, an Adornian approach to suffering avoids the instrumentalization of others’ suffering and that instead of relating to another person’s suffering through theodicy, Adorno’s notion of non-identity opens up an alternative, non-coercive avenue. (shrink)