The main goal of this paper is to offer a reading of Reinhart Koselleck’s work as an ally of critical theory. My contention is that, despite customary accusations of Koselleck being an anti-Enlightenment historian detrimental to social criticism and emancipatory politics, his investigations on the semantic fabric of modern society may actually expand our resources for the critique of domination. In order to make this argument plausible, I reconstruct some antinomies that are at the basis of Koselleck’s work (state/society, language/reality, (...) experience/expectation) and discuss their critical potential. This analysis shows that, rather than a rejection of the spirit of critique, Koselleck contributes to the temporalization of the practice of critique as such: namely, a clarification of the contradictions and potentials of a reflexive practice imbued in the struggle between the need to comprehend the world as it is and the right to experiment with other forms of life. (shrink)

In his most recent work, McDowell argues that the oscillation between the Myth of the Given and coherentism can be avoided only by an ‘equipoise’ between the objective and the subjective. However, I argue that Adorno’s ‘cognitive utopia’ is a genuine 4th option distinct from equipoise and from the oscillation between the Myth of the Given and coherentism. McDowell’s inability to acknowledge the cognitive utopia is traced to his overly abstract conception of the disenchantment of nature, in contrast to Adorno’s (...) emphasis on the domination of nature. This difference is traced to their different interpretations of Hegel. (shrink)

Axel Honneth makes initial and promising steps towards what could be called a two-level account of recognition, according to which the normatively substantial forms of recognition represent various manners in which the primordial acquaintedness with others is expressed. It will be argued that Honneth's promising approach must be revised in regard to the issue of intentionality, which may be achieved by reference to earlier critical theorists such as Adorno and Arendt. With such a foundation, critical theory can enter into new (...) fruitful interdisciplinary dialogue. (shrink)

This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics following Heidegger, (...) including Blanchot’s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ‘world’ in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling. (shrink)

I argue in this paper that a recovery of the cognitive role of the experiencing subject is the common theme uniting Theodor Adorno's philosophy and Marcel Proust's literary project. This shared commitment is evidenced by the importance given by both thinkers to the expressive dimension of language in relation to its social function as a vehicle for communication. Furthermore, I argue that Adorno and Proust conceive of language's expressive dimension as the expression of suffering. However, whereas, for Proust, this means (...) the private suffering of the artist transforming itself into a work of art, for Adorno it means suffering that is rooted in sociohistorical conditions. It is this thesis, I suggest, that enables Adorno to employ the recovery of the experiencing subject as a form of social criticism. (shrink)

In Aesthetic Theory, Adorno argues that, in modernity, art and philosophy are reciprocally dependent upon each other for legitimation and critical force. This claim has puzzled scholars and provoked controversy. I argue that Adorno’s thesis may be comprehended in the following manner: art requires philosophy because, without the latter, art would lack the power to critique social and historical reality (in particular, the ideological elements that often remain invisible as second nature), and to rationally interpret the material particularity expressed by (...) such reality; and, conversely, philosophy requires art because the latter expresses historical experience to reason. Such material historical experience is necessary in order to prevent philosophy from falling into ideological convention; idle speculation; or abstract and reified instrumentality. Thus, the constellation of history, art, and philosophy is essential to Adorno’s aesthetics. (shrink)

The concept of negative dialectics constitutes the philosophical core of Adorno's wide-ranging thought. It reflects his attempt both to consider the status of dialectics in the face of a history that has failed to actualize its prognostications and to rework dialectics to make it adequate to his own time. Among the themes considered are Adorno's critique of conceptuality in the German idealist tradition, his critique of enlightenment reason and its relationship to capitalist society, his qualified rejection of universal history, his (...) concern with revitalizing experience, and his concept of the constellation, which he offers as an alternative to existing epistemological paradigms. (shrink)

ABSTRACTAs efforts towards reconciling the thought of Hannah Arendt and Theodor Adorno gained momentum in the last decade, it seems an array of essential discrepancies have been failing to receive due attention. This article aims to foreground and explore one particular philosophical difference which stands in the way of such endeavours, focussing on Adorno’s and Arendt’s conceptualization of nature. It is argued that while Adorno’s philosophy is poised to redeem nature from the pangs of false enlightenment, Arendt’s redefinition of political (...) existence upholds not only the careful separation of politics from nature but also emphasizes the former’s superiority. Revisiting a set of arguments raised by Adorno against fundamental ontology such as the questions of hypostasis and tautology, it is explored in what ways Arendt’s conceptualization of nature as eternal recurrence markedly and perhaps irreconcilably differs from the normative import of Adorno’s understanding, which emphasizes the concrete unity of nature with history. (shrink)

Current inquiries into the meaning of feminist concepts, such as the third world woman worker, seek to explain contemporary social relations of global capitalism within the context of the legacy of post-colonialist structures. At the same time, these very concepts draw attention to the limitations of language to adequately approximate the world as it is in order to capture some truth about its categorical entities, in particular, about the embodied experiences of the third world women worker. Through a comparative analysis (...) of critical and postpositivist realisms that highlights feminist interventions in the context of standpoint epistemology, and the evolution in both towards dialectics, I argue that feminist dialectical realism offers an alternative to feminist poststructuralist materialisms as well as addresses limitations in prevailing standards for truth in social theory and philosophy. (shrink)