This paper seeks to redress the marginalization of Adorno in environmental philosophical discourse. Kate Soper describes two opposing ways of conceiving nature. There is the redemptive “nature-endorsing” paradigm that lays claim to the intrinsic value or “otherness” of nature. Conversely, the “nature-sceptical” approach denies that we can access originary, untouched nature. This paper argues that the significance of Adorno’s treatment of natural beauty lies in how he brings these approaches together. In writings that resonate with the dual connotations of Sebald’s (...) phrase “after nature”, Adorno both affirms the skeptical point that we cannot transcend a human history alienated from nature as well as retaining redemptive hope wherein art “after” nature seeks creative possibilities from out of the very ruins of history marked by nature’s destruction. (shrink)

In the aftermath of Kant, that is, with Schelling and Hegel, the natural beautiful is no longer a major concern of aesthetic theory. According to Adorno, an evil star hangs over the theory of natural beauty. The essay examines the reasons for this neglect of the beautiful of nature by confronting Kant's account of natural beauty with Hegel's theory about the fundamental deficiencies of beauty in nature and locates them in the essential indeterminacy of everything that belongs to nature. Inquiring (...) into what Adorno seeks to achieve by playing Kant and Hegel off against one another, it is shown that this indeterminacy of nature is both an index of nature's interconnectedness with mythical violence and the promise of a freedom from myth. (shrink)

While post- and decolonial theorists have thoroughly debunked the idea of historical progress as a Eurocentric, imperialist, and neocolonialist fallacy, many of the most prominent contemporary thinkers associated with the Frankfurt School--Jürgen Habermas, Axel Honneth, and Rainer Forst--have persistently defended ideas of progress, development, and modernity and have even made such ideas central to their normative claims. Can the Frankfurt School's goal of radical social change survive this critique? And what would a decolonized critical theory look like? Amy Allen fractures (...) critical theory from within by dispensing with its progressive reading of history while retaining its notion of progress as a political imperative, so eloquently defended by Adorno. Critical theory, according to Allen, is the best resouce we have for achieving emancipatory social goals. In reimagining a decolonized critical theory after the end of progress, she rescues it from oblivion and gives it a future. (shrink)

Drawing on the work of Walter Benjamin, this essay argues—largely against Carl Schmitt—that political theology as a critical analytic should examine the ‘afterlife’ of theological tropes with respect to the sense of time and history that they compel. Benjamin’s The Origin of German Tragic Drama argues that sovereignty as a political concept gains prominence as a response in the wake of the erosion of the concept of salvation history in the Baroque. The consequence of this rise of sovereignty as a (...) political key concept is a philosophy of history based on the permanently impending catastrophic end of the world. This continuously urgent situation is not only one that leaves little room for political critique and action, but also a perplexing one in its perpetuation, since the end of the world never actually arrives. To answer why political urgency can be perpetuated seemingly infinitely and why sovereigns can fail without eroding the ongoing desire for sovereignty, Benjamin’s work suggests that we must broaden our view of political theology to consider the survival of further theological concepts to include original sin as a master trope of philosophical anthropology. (shrink)