Waiting for Godot’s many commentators have emphasized the absurdity of hope in the play, but there has not been an account of how the play reprises hope’s historical transformation and weakening in modernity. This essay provides that account, arguing that Beckett’s Waiting for Godot sponsors a form of hope appropriate to the predicaments of modern societies. Godot stages the blockage of hope by reflecting the obsolescence and fragmentation of the religious and progressive legitimations for the concept that used to be (...) broadly convincing. Despite this blockage, however, Godot does not give in to nihilism. It, rather, models a form of responsible, self-aware hope appropriate to an historical situation where hope does not admit of rational justification. To develop this interpretation of the play and to defend its minimalist conception of hope, the essay draws on Theodor W. Adorno’s Negative Dialectics and aesthetics. (shrink)

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. (...) In spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

The philosophical model of constellation has been applied to contemporary musical form, but it reveals too many limitations when confronted with late Adorno’s model of informal music. Once the component of heteronomy, in hierarchical and centered structures of traditional music, has been overcome, it reemerges in the opposite type, the decentered, non-hierarchical or free structures, between the opposites of serialism and aleatoric music. Therefore, the model of informal music, as an "image of freedom", pursues the realization of a musical-aesthetic nominalism (...) that is subtracted from all forms of heteronomy, ancient or modern. To do this, it has to achieve the 'actually constructed totality' of the work, integrating in it the opposite of free subjectivity. (shrink)

Adorno’s use of the term “barbarism” has probably been most often referred to in the context of his much- cited dictum that “to write poetry after Auschwitz is barbaric” (Adorno 1983: 34). While, nowadays, the term is usually and fortunately presented within the broader context of his works, his intended meaning was frequently misunderstood particularly after Adorno had articulated it for the first time. For clarity, the aforementioned dictum was not a verdict intended to silence poets or artists. It was (...) rearticulated a few times by Adorno — specifically in response to Celan’s poetry — who calls for arts and culture to respond from within and in the face of an inescapable aporetic condition. Namely, to write poetry after Auschwitz means to write from within a differend—a radical chasm between the signifier and the signified that one neither ought nor could overcome via writing or aesthetic means in general. Yet, poetry (and also art and thinking, per se) as a form of active engagement with sociopolitical realities, has to respond to the ungraspable (i.e., the Holocaust); it cannot simply avoid doing so. It permanently has to speak whilst knowing that it will never reach the addressee; that it must fail in speaking. -/- . (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this huge, (...) difficult, but revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to support the (...) second, while a convention‐based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art’s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic‐Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

Theodor W. Adorno’s letter correspondence with Walter Benjamin throughout the decade of the 1930’s entertains the central question concerning the possibility of philosophy in their intellectual milieu. The fate of this possibility for Adorno hinges on Benjamin’s work-in-progress Das Passagen-Werk—a fate that is catastrophically blocked by an uncritical tendency convicted repeatedly by the former as “undialectical.” And yet Adorno obstinately persists in clinging to the canon of a philosophically overdetermined demand he endearingly calls “my Arcades orthodoxy.” The threatening destruction (...) of the aura of this orthodoxy reaches a crisis in Adorno’s ruthless metacritique of Benjamin’s alleged undialectical treatment of aesthetic autonomy in a draft of the Kunstwerk essay, marking a critical wound in the correspondence which the following exposition tracks in the enigmatic changeover in the philosophical exigency of the said orthodoxy from prima philosophia to ultima philosophia. The lingering wound is registered in Adorno’s late philosophical work. (shrink)

El objetivo de este trabajo es ofrecer una serie de vı́nculos teóricos entre la filosofı́a de Theodor W. Adorno y la de Judith Butler con el propósito de buscar ciertos gérmenes de la teorı́a queer más allá de sus principales referentes en algunas posiciones teóricas que se trazaron desde la teorı́a crı́tica. Se trata de señalizar una serie de simultaneidades que existen entre ambos pensadores, ası́ como de impulsar una lectura de Adorno como un desmitificador de conceptos. Se intentará (...) argumentar cómo el análisis que plantea Adorno de conceptos como el de sujeto, naturaleza, inhumanidad o historia puede relacionarse con las propuestas de refundación de la ética que plantea Judith Butler en sus últimos escritos. (shrink)

For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even for this (...) reason, they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars. (shrink)

In diesem Aufsatz argumentiere ich dafür, dass der kritische Vorrang der Musik gegenüber den anderen Künsten bei Theodor W. Adorno als Echo einer spezifischen, nicht immer expliziten Präsenz des Motivs des Bilderverbots in seiner Ästhetik verstanden werden kann. Dabei soll die Adorno’sche Reflexion zum bilderlosen Charakter der Musik allerdings nicht auf eine Variante der generell abfälligen Betrachtung des Bildes in der marxistischen Tradition oder der Ästhetik der absoluten Musik reduziert, auch nicht als eine bloße Verwendung des biblischen Motivs des (...) Bilderverbots betrachtet werden. Dennoch sind all diese Elemente Teil jener spezifischen Konstellation, die sich im Laufe der Jahre in Adornos Werk entwickelt und verändert. Meine These lautet, dass das Motiv des Bilderverbots sich in verschiedenen Variationen in Adornos Ästhetik manifestiert, sodass nur eine Rekonstruktion dieser Variationen und der Verbindungen zwischen ihnen erklären kann, warum das Motiv selbst eine zentrale Bedeutung für Adornos Werk hat und welche Variation eventuell Vorrang gegenüber den anderen gewinnt. Mein Versuch besteht darin, die Entwicklung der Kritik Adornos an der Verräumlichung der Musik hin zur expliziteren Bezugnahme auf das Bilderverbot und auf die Betrachtung der Musik als „Bild des Bilderlosen“ nachzuvollziehen. Dafür werden sowohl die Kontinuitäten als auch die Veränderungen analysiert, die seine Überlegungen zwischen 1949 und 1963, d.h. zwischen der Veröffentlichung der Philosophie der Neuen Musik und seines Aufsatzes „Sakrales Fragment“ erfahren haben. (shrink)

Jacob Taubes (1923-1987), sociologue, philosophe et théologien, est un des grands spécialistes de l’œuvre de Walter Benjamin et en particulier du messianisme de ce dernier. Peu avant sa mort, dans une conférence en 1987, Taubes revient sur ce concept benjaminien en l’opposant à ce qu’il appelle le « messianisme esthétisé » de Theodor W. Adorno. Notre article, après avoir présenté certains traits théologiques de la pensée de Taubes, se concentre sur l’analyse de cette conférence. Nous explorons la conception du (...) messianisme benjaminien propre à Taubes, la critique d’Adorno par Taubes ainsi que quelques éléments de la philosophie de l’histoire d’Adorno. Fort de ces acquis, nous jugeons de manière critique de la valeur de l’argument de Taubes contre Adorno, pour voir finalement que ce dernier est peut-être plus proche du messianisme de Benjamin que Taubes ne veut le reconnaître. (shrink)

In recent years, documentary formats have entered prominently into the realm of the culture industry, especially since Hollywood and Netflix started to invest in costly productions addressed to the mainstream. Many of these documentaries claim to show reality in its immediacy (“as it really is”), to reveal that which is obscured, or to critically assess societal evils. They use aesthetic strategies that reinforce the appearance of authenticity, while concealing the mediation of what they represent, and the authoritarian stances they presuppose. (...) This turns them into powerful instruments for diffusing authoritarian and populist ideologies. Their political impact on society, their performative power of opinion-shaping, and their subliminal influence on how we perceive and understand reality call urgently for critical assessment. Horkheimer and Adorno’s critique of the culture industry, along with their philosophical, sociological, and aesthetic writings, provide a constructive starting point. This essay aims to mobilize their critical theory of society for the problematization of documentary films in terms of their dialectical relation to society. (shrink)

We introduce a new type of pluralism about biological function that, in contrast to existing, demonstrates a practical integration among the term’s different meanings. In particular, we show how to generalize Sandra Mitchell’s notion of integrative pluralism to circumstances where multiple epistemic tools of the same type are jointly necessary to solve scientific problems. We argue that the multiple definitions of biological function operate jointly in this way based on how biologists explain the evolution of protein function. To clarify how (...) our account relates to existing views, we introduce a general typology for monist and pluralist accounts along with standardized criteria for judging which is best supported by evidence. (shrink)

This article attempts to think of thinking as the essence of critical education. While contemporary education tends to stress the conveying of knowledge and skills needed to succeed in present-day information society, the present article turns to the work of Theodor W. Adorno to develop alternative thinking about education, thinking, and the political significance of education for thinking. Adorno touched upon educational questions throughout his writings, with growing interest in the last ten years of his life. Education, he argues (...) following Kant, must enable students to think for themselves and to break free of the authority of teachers, parents and other adults. Nevertheless, in his discussions of education Adorno says little about the nature of thinking, and the secondary literature on his educational theory addresses this question only cursorily. Important claims on the nature of thinking do appear elsewhere in Adorno's work. From his early writings up to Negative Dialectics, Adorno is preoccupied with thinking, sketching the outlines of critical-dialectical thought. Still, these reflections rarely touch upon educational questions, and the Adorno scholarship has yet to establish this link. Unlike studies which read Adorno's educational thought against the backdrop of the history of education and the German Bildung tradition, or in relation to art and aesthetics, the present article brings together Adorno's ideas on education and thinking in an attempt to contribute both to the Adorno scholarship and to the growing field of education for thinking. (shrink)

This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a (...) person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’. (shrink)

This article aims to explore the connection between freedom and language in T.W. Adorno's Notes to Literature, presenting freedom as a liberation of our way of thinking that has the potential to arrive at an unrestrained interpretation of art and representation of the intellectual experience. I also attempt to show some of Adorno's insights into language and freedom in The Essay as a Form and their role in his essays about Valéry and Proust. Namely I focus on the problematics of (...) the suspension of the subject of the artist within the production of the work of art. Through showing the connection between Adorno's insights into problematics of language, freedom and suspension of subject I hope to contribute to the explication of one of the constructive steps of Adorno's philosophy. (shrink)

Freud proposes that in unconscious processing, logical connections are also (heavily) based upon phonological similarities. Repressed concerns, for example, would also be expressed by way of phonologic ambiguity. In order to investigate a possible unconscious influence of phonological similarity, 31 participants were submitted to a tachistoscopic subliminal priming experiment, with prime and target presented at 1ms. In the experimental condition, the prime and one of the 2 targets were phonological reversed forms of each other, though graphemically dissimilar (e.g., “nice” and (...) “sign”); in the control condition the targets were pseudo-randomly attributed to primes to which they don’t belong. The experimental task was to “blindly” pick the choice most similar to the prime. ERPs were measured with a focus on the N320, which is known to react selectively to phonological mismatch in supraliminal visual word presentations. The N320 amplitude-effects at the electrodes on the midline and at the left of the brain significantly predicted the participants’ net behavioral choices more than half a second later, while their subjective experience is one of arbitrariness. Moreover, the social desirability score (SDS) significantly correlates with both the behavioral and the N320 brain responses of the participants. It is proposed that in participants with low SDS the phonological target induces an expected reduction of N320 and this increases their probability to pick this target. In contrast, high defensive participants have a perplexed brain reaction upon the phonological target, with a negatively peaking N320 as compared to control and this leads them to avoid this target more often. Social desirability, which is understood as reflecting defensiveness, might also manifest itself as a defense against the (energy-consuming) ambiguity of language. The specificity of this study is that all of this is happening totally out of awareness and at the level of very elementary linguistic distinctions. (shrink)

This article discusses the theological implications of Adorno’s writings on Beckett by specifically examining their constellative motifs of death, reconciliation and redemption. It addresses not only their content but also their form, suggesting a mutually stimulating relationship between the two as based both on a negative-dialectical approach and an inverse-theological trajectory. Focusing on Adorno’s discussion of Beckett’s oeuvre as a “metaphysical entity,” I argue that Adorno’s reading of Beckett is peculiar because it is inextricably tied to his own critical-theological venture. (...) The essay claims that Adorno’s reflections on Beckett contour, at their most basic level, meditations on theology in the age of its impossibility. (shrink)

We argue that C. Darwin and more recently W. Hennig worked at times under the simplifying assumption of an eternal biosphere. So motivated, we explicitly consider the consequences which follow mathematically from this assumption, and the infinite graphs it leads to. This assumption admits certain clusters of organisms which have some ideal theoretical properties of species, shining some light onto the species problem. We prove a dualization of a law of T.A. Knight and C. Darwin, and sketch a decomposition result (...) involving the internodons of D. Kornet, J. Metz and H. Schellinx. A further goal of this paper is to respond to B. Sturmfels’ question, “Can biology lead to new theorems?”. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

Theodor W. Adorno inspired much of Germany’s 1960s student movement, but he came increasingly into conflict with this movement about the practical implications of his critical theory. Others – including his friend and colleague Herbert Marcuse – also accused Adorno of a quietism that is politically objectionable and in contradiction with his own theory. In this article, I recon- struct, and partially defend, Adorno’s views on theory and (political) praxis in Germany’s 1960s in 11 theses. His often attacked and (...) maligned stance during the 1960s is based on his analysis of these historical circumstances. Put provocatively, his stance consists in the view that people in the 1960s have tried to change the world, in various ways; the point – at that time – was to interpret it. (shrink)

In the Laws, Plato argues that the legislator should attempt to persuade people to voluntarily obey the laws. This persuasion is accomplished through use of legislative preludes. Preludes (also called preambles) are short arguments written into the legal code, which precede laws and give reasons to follow them. In this paper, I argue that Plato’s use of persuasive preludes shows that he endorses the core features of a public reason theory of political justification. Many philosophers argue that Plato’s political philosophy (...) is deeply at odds with contemporary liberal political philosophy. While Plato certainly does not affirm (and even rejects) some of the main features of liberalism, if it could be shown that he endorses some account of public reason (which is a liberal idea to its core), this would suggest that there is more in common between Plato and liberalism than many philosophers think. Furthermore, if combined with the work of philosophers, like C.C.W. Taylor, this could form a cumulative case against those who argue that there is little in common between Plato’s political philosophy and liberalism. In short, by showing that Plato endorses the core features of public reason, I endeavor to show that there is more in common between Plato and liberalism than is often thought. (shrink)

A primary aim of mind-wandering research has been to understand its influence on task performance. While this research has typically highlighted the costs of mind wandering, a handful of studies have suggested that mind wandering may be beneficial in certain situations. Perhaps the most-touted benefit is that mind wandering during a creative-incubation interval facilitates creative thinking. This finding has played a critical role in the development of accounts of the adaptive value of mind wandering and its functional role, as well (...) as potential mechanisms of mind wandering. Thus, a demonstration of the replicability of this important finding is warranted. Here, we attempted to conceptually replicate results of a highly cited laboratory-based experiment supporting this finding. However, across two studies (N = 443), we found no evidence for the claim that mind wandering during a creative-incubation interval facilitates a form of creativity associated with divergent thinking. We suggest that our failed conceptual replication stems from an inadequate characterization of mind wandering (task-unrelated thought), and that there are good reasons to think that task-unrelated thought is unlikely to be causally related to creativity. Our results cast doubt on the claim that task-unrelated thought during an incubation interval enhances divergent creativity while also offering some prescriptions for how future research might further elucidate the cognitive benefits of mind wandering. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

This paper examines the differences and affinities between Karl Popper’s critical rationalism and Theodor Adorno’s critical theory through renewed attention to the original documents of their 1961 debate. While commentaries often describe the Popper-Adorno encounter as a theoretical disappointment, I reveal a confrontation between conceptually opposed programs of social research. Though both theorists are committed to critique as a political and epistemological struggle for human freedom, their conceptions of this struggle are starkly different. In the original seminar papers, we (...) find a conflict between critique as a practice of social rationality (Popper) and a critique of social rationality itself (Adorno). The versions of critical rationalism and critical theory meeting in this debate thus emphasize opposite dimensions of a reflexive practice of immanent critique. In closing, I suggest dissolving this conceptual tension by recovering the educational orientation of critique. (shrink)

In this paper I wish to defend a particular form of the traditional, and now almost wholly unfashionable, notion of an aesthetic attitude.

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 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)

In this chapter, Grace Andrus de Laguna and Theodore de Laguna critically examine the pragmatist theory of knowledge and offer their own alternative to it.

On September 13, 1998, Zygmunt Bauman was honoured with the Theodor W. Adorno-Preis which the free city of Frankfurt am Main awards each year in the deconsecrated church of St. Paul, a highly symbolic place where the first democratic parliament sessions were held during the revolution of 1848-49. Not without surprise, in his thanksgiving speech, he de-clared that he felt like a “disciple of Adorno”. The intention of this essay is to reconstruct Bauman's real intellectual debt, through an analysis (...) of his writings and those of Adorno, trying to demonstrate that, in spite of Bauman's compliant criticism, it is an apparent legacy. (shrink)

This is a review of the new translation-cum-commentary of Lucretius, De rerum Natura by Klaus Binder, published by dtv, Munich 2017. The review stresses the importance of Lucretius work for the Enlightenment. The translation is o. k. on the whole, however the translator should have avoided rendering the Latin >religio< by >Aberglauben< (superstition). >superstition< was the word chosen by the English translator in the Loeb-Library, W. H. D. Rouse. Rouse was a Headmaster of the Perse School in Cambridge and he (...) may have chosen this rendering in 1924 to avoid getting into trouble with the Church of England. (shrink)

This paper considers a problem that arises for free will defenses when considering the nature of God's own will. If God is perfectly good and performs praiseworthy actions, but is unable to do evil, then why must humans have the ability to do evil in order to perform such actions? This problem has been addressed by Theodore Guleserian, but at the expense of denying God's essential goodness. I examine and critique his argument and provide a solution to the initial problem (...) that does not require abandoning God's essential goodness. (shrink)

Fichte-Studien, volume 49 (Leiden: Brill/Rodopi Publishers, 8 April 2021), edited by David W. Wood, 471pp. -/- Presenting new critical perspectives on J.G. Fichte’s Wissenschaftslehre, this volume of articles in English by an international group of scholars addresses the topic of first principles in Fichte’s writings. Especially discussed are the central text of his Jena period, the 1794/95 Grundlage der gesammten Wissenschaftslehre, as well as later versions like the Wissenschaftslehre nova methodo (1796-99) and the presentations of 1804 and 1805. Also included (...) are new studies on the first principles of the particular sub-disciplines of Fichte’s system, such as the doctrines of aesthetics, nature, right, ethics, and history. The volume also contains a number of miscellaneous essays on Fichte research, as well as several book reviews. (shrink)

In the post-enlightenment world, it is often overlooked that the world’s spiritual traditions possess a complete psychology or “science of the soul.” This understanding is the very antithesis of the desacralized and reductionistic outlook found in modern Western psychology. The Jewish faith embraces a more integrated understanding of who we are. Its rich mystical tradition clearly speaks to the fullness of what it means to be human. Although modern psychology is in quest of more holistic treatment modalities – seeking, albeit (...) superficially, to draw upon humanity’s sacred wisdom – these attempts cannot remedy the foundational problem, which is the flawed ontological basis of the discipline itself. (shrink)

According to what has long been the dominant school of thought in analytic meta-ontology––defended not only by W. V. O. Quine, but also by Bertrand Russell, Alvin Plantinga, Peter van Inwagen, and many others––the meaning of ‘there is’ is identical to the meaning of ‘there exists.’ The most (in)famous aberration from this view is advanced by Alexius Meinong, whose ontological picture has endured extensive criticism (and borderline abuse) from several subscribers to the majority view. Meinong denies the identity of being (...) and existence. That is, he denies that ‘there is’ and ‘there exists’ are semantically equivalent, and espouses a theory according to which there are things that do not exist. Here I defend a revised version of this view, which I call “Noncontradictory Neo-Meinongianism.” Focusing primarily on van Inwagen’s arguments in “Meta-Ontology” (1998), I argue that Noncontradictory Neo-Meinongianism is, on commonsensical grounds, preferable to the meta-ontological theories of van Inwagen and Meinong. (shrink)

Gilles Deleuze was one of the most influential philosophers of the twentieth-century, and Smith is widely recognized to be one of his most penetrating interpreters, as well as an important philosophical voice in his own right. Combining his most important pieces over the last fifteen years along with two new essays, this book is Smith 's definitive treatise on Deleuze. The essays are divided into four sections, which cover Deleuze's use of the history of philosophy, an overview of his philosophical (...) system, an analysis of several Deleuzian concepts, as well as an assessment of his position within contemporary philosophy. (shrink)

In this paper I argue that Theodor W. Adorno 's philosophy of freedom needs an ontological picture of the world. Adorno does not make his view of natural order explicit, but I suggest it could be neither the chaotic nor the strictly determined ontological images common to idealism and positivism, and that it would have to make intelligible the possibility both of human freedom and of critical social science. I consider two possible candidates, Nancy Cartwright 's ‘patchwork of laws’, (...) and Roy Bhaskar 's critical realism. Arguing that Cartwright 's position conflicts with the spirit of Adorno 's philosophy, I suggest that Bhaskar 's realism is compatible with and to a significant extent implicit in Adorno 's position. Whilst Adorno is clearly not a critical realist, Bhaskar 's position does provide the best overall account of the ontological commitments of Adorno 's critical theory. It becomes possible in turn to locate Bhaskar 's arguments in a broader critical tradition and give fuller expression to the concerns that structure his work, in particular by locating the epistemic fallacy in the narrative account of the natural history of subjective reason and its tendency towards ‘identity thinking ’. The discussion goes on to consider the interdependence of reason, nature and freedom in the idea of emancipatory critique, confirming the deeper affinities between critical realism and critical theory. (shrink)

Here, I explore a modernist aesthetics of death metal. First, I briefly describe a few themes that characterize some modern art, without any claim that they are necessary, sufficient, or exhaustive. The goal is to obtain a set of themes that might be set against similar themes characteristic of death metal. This is the task in the second half of the paper. In particular, I argue that (some) modernist art and death metal share themes centered on transgressively breaking with (...) the past, pursue their conception of the truth, eliminate elements in their art form to purity them, and attack the art/non-art or music/non-music distinction. I contend that centering on death metal vocals reflects these themes. Death metal growls, like some modernist art, transgresses on past vocal traditions, tells us important truths, eliminates traditional concepts/techniques of signing, and undermines the singing/noise distinction. (shrink)

Blame is multifarious. It can be passionate or dispassionate. It can be expressed or kept private. We blame both the living and the dead. And we blame ourselves as well as others. What’s more, we blame ourselves, not only for our moral failings, but also for our non-moral failings: for our aesthetic bad taste, gustatory self-indulgence, or poor athletic performance. And we blame ourselves both for things over which we exerted agential control (e.g., our voluntary acts) and for things over (...) which we lacked such control (e.g., our desires, beliefs, and intentions). I argue that, despite this manifest diversity in our blaming practices, it’s possible to provide comprehensive account of blame. Indeed, I propose a set of necessary and sufficient conditions that aims to specify blame’s extension in terms of its constitution as opposed to its function. And I argue that this proposal has a number of advantages beyond accounting for blame in all its disparate forms. For one, it can account for the fact that one’s having had control over whether one was to φ is a necessary condition for one’s being fittingly blamed for having φ-ed. For another, it can account for why, unlike fitting shame, fitting blame is always deserved, which in turn explains why there is something morally problematic about ridding oneself of one’s fitting self-blame (e.g., one’s fitting guilt). (shrink)

In attempting to determine why the Enlightenment project had derailed and how this failure might be remedied, Walter Benjamin and Theodor Adorno both turned to canonical literary narratives. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. The Saving Line reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School. At the heart of Dornbach’s argument (...) is a critical model that Benjamin built around the concept of caesura, which Adorno subsequently reworked. Countering an obscurantism that would become complicit in the rise of fascism, the two theorists aligned moments of arrest in narratives mired in unreason. The Saving Line throws fresh light on the intellectual exchange and disagreements between Benjamin and Adorno, the problematic conjunction of secular reason and negative theology in their thinking, and the philosophical significance of literary narration. (See PDF file below for a more detailed précis). (shrink)

Few of Kant’s doctrines are as difficult to understand as that of self-affection. Its brief career in the published literature consists principally in its unheralded introduction in the Transcendental Aesthetic and unexpected re-appearance at a key moment in the Deduction chapter in the B edition of the first Critique. Kant’s commentators, confronted with the difficulty of this doctrine, have naturally resorted to various strategies of clarification, ranging from distinguishing between empirical and transcendental self-affection, divorcing self-affection from the claims of self-knowledge (...) with which Kant explicitly connects it, and, perhaps least justified of all, ignoring the doctrine altogether. Yet the connection between self-affection and central Critical doctrines (such as the transcendental synthesis of the imagination) marks all of these strategies as last resorts. In this paper, I seek to provide a clearer outline of the constellation of those issues which inform Kant’s discussion of self-affection. More particularly, I intend to explain the crucial role played by self-affection in the account of the transcendental conditions of perception provided late in the B Deduction. (shrink)