As genealogy has gained greater disciplinary recognition over the last two decades, it has become increasingly common to call any historically oriented philosophy, such as Theodor W. Adorno’s, “genealogy.” In this article, I show that Adorno’s philosophy indeed performs genealogy’s defining functions of “problematization” and “possibilization.” Moreover, it does so in unique ways that constitute a significant contribution to genealogical practice. Adorno’s method, here called “tragic genealogy,” is particularly well-suited to the genealogical analysis of traditional philosophical problems and to the (...) critical reanimation of declining, but ethically significant, values. Nevertheless, I also argue that Adorno’s philosophy cannot be assimilated into genealogical practice without rejecting or revising some of its Hegelian influences, particularly its philosophy of history and its modal metaphysics. (shrink)

“Ideal theorists” in contemporary liberal political theory argue that we can only arrive at a conception of what our most important political values require by reference to an imagined ideal state of affairs and that we must therefore, to some extent, engage in utopian thinking. Critical theorists, from Marx and the Frankfurt School, have traditionally been highly skeptical towards using idealizations in this way. This skepticism is mirrored by contemporary authors, such as Charles Mills. I argue that most of their (...) critical arguments make a principled case only against ahistorical, decontextualized projects of utopian idealization, but not against ideal theorizing as such. Critical theories do not need to reject ideal theorizing. On the contrary: The method of immanent critique that is specific to critical theory allows for a conception of an ideal state of affairs that emerges from its diagnosis of social contradictions. I conclude that critical theories can (and should) incorporate some aspects of ideal theorizing and its utopian reference to a better society. (shrink)

In this paper, I argue that the concept of culture industry developed by Max Horkheimer and Theodor W. Adorno had a decisive influence on Jean Godefroy Bidima’s critique of black African modernity. Drawing on some of his writings, I seek to demon- strate how Bidima’s philosophical endeavor inherits the concept of culture industry and applies it to the modern context of black Africa, where it is transformed into the concept of colonial industry. In both cases, the same critical perspective is (...) at play, namely to formulate a broad critique of how cultural products (artworks in Horkheimer and Adorno, and philosophy in Bidima) are deprived of their substance to align with the mystification of the masses. The critique of the culture industry, which serves in Adorno as a fundamental criticism of the production of modern art and its decadence into mass production serves, revisited in Bidima, as a critique of the modern black African philo- sophical discourse. With the light provided by this connection, I propose a rereading of Bidima’s critique of Fabien Eboussi Boulaga, the latter being presented as a promoter of a “discourse of mastery” in black African modern philosophy. (shrink)

Journal of Political Philosophy, EarlyView.

Many contemporary thinkers of the Anthropocene, who attempt to articulate a non-modern and relational ontology, all too readily dismiss critical theory inherited from the Frankfurt School for being anthropocentric, failing to acknowledge certain basic similarities. Instead, this article argues that the scaffolding of Anthropocene thinking—the recognition of the origins of the contemporary condition of ‘loss of world’ and the hope of ‘living on in the ruins’—share much with earlier critical theorists’ recognition that the Holocaust necessitated a fundamental break with the (...) past. In reading these two sets of literatures together, we suggest we can get a better grasp of the stakes involved in the contemporary crisis of critique, and in the speculative framings enabling alternative futures to come into being. (shrink)

Theories of a new phase of earth history, the Anthropocene, position human world-making activity as a bio-geological force. Social interventions into earth systems have been extensive and malignant, altering the earth’s surface, atmosphere, oceans, and systems of nutrient cycling. To adapt and respond to emerging planetary dangers requires the collaboration of scholars from many different disciplines. In this paper, I argue that a coalition of the arts and sciences might draw upon György Márkus’s extensive studies of the topography of ‘high’ (...) culture. I reconstruct Márkus’s conceptual map of the arts and sciences as regions of ‘high’ cultural activity, each with their own criteria of value yet subject to an integral unity and shared ambition. Both regions of ‘high’ culture aim to create original works of significance for an engaged public. I then examine the implications of Márkus’s claim that the classical vocation of robust, public-oriented culture has run aground. The field of problems that this paper traverses are not the ecological crises of the Anthropocene per se. I attend rather to Márkus’s account of the neoliberal erosion of cultural infrastructure where democratic publics might engage with such problems. (shrink)