This paper examines critical theorist Theodore Adorno's approach to dialectics and critique in his works Against Epistemology and Negative Dialectics. It considers three diads or polarities that Adorno considers to have been neglected by philosophy during Modernity: society and individual; subject and object; and entity and concept. Then it explores the necessity for philosophical critique, both of others and of oneself carried out through the equivocal concept of thought.

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)

This article aims to provide an elaboration of Theodor Adorno’s notion of exact fantasy and its function within his idea of genuine philosophical thought. It is divided into two main parts. In the first one, I explore the features of the notion of fantasy through a comparison of its understanding in Walter Benjamin’s and Adorno’s bodies of work. I further explicate what features Adorno takes over from Benjamin and where the authors’ ideas diverge. I present the (...) role of fantasy in Adorno’s thought as a non-transparent and emotional element of thinking that is responsible for the active arrangement of elements into constellations, which his individual essays are the embodiment of. In the second part, I follow Adorno’s criticism of the situation of late capitalist society in the light of the feature of lack of fantasy that is according to him caused by the influence of modern mass culture. I put this feature in connection to his examination of the phenomenon of boredom, depicting fantasy as an intellectual faculty which enhances intellectual freedom and resists the ”neurotic feelings” inherent in boredom. In the conclusion, I try to defend the possibility of the validity of Adorno’s insights despite their unconcealed intellectual elitism. (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)

This article reconstructs and defends Theodor Adorno’s social theory by motivating the central role of abstract domination within it. Whereas critics such as Axel Honneth have charged Adorno with adhering to a reductive model of personal domination, I argue that the latter rather understands domination as a structural and de-individualized feature of capitalist society. If Adorno’s social theory is to be explanatory, however, it must account for the source of the abstractions that dominate modern individuals and, (...) in particular, that of value. While such an account remains undeveloped in Adorno, Marx provides resources for its development, in positing the constitution of value neither in production nor exchange alone, but in the social totality. This article argues that Marx’s account is compatible with Adorno’s, and that it may be used to render Adorno’s theory of domination more credible on explanatory grounds. (shrink)

The notes for Theodor Adorno’s courses in the 1960’s are important resources not only for an understanding of his magnum opus, Negative Dialectics, but also for developing critical responses to this problematic philosophical heir of idealism. Particularly noteworthy among the volumes that have appeared so far is from Adorno’s 1965 course on metaphysics where he engages in a sustained reading of Aristotle’s Metaphysics and explicitly connects it with the project of Negative Dialectics. Adorno’s chief concern is (...) to demonstrate, by way of Eduard Zeller’s work, that Aristotle is indeed a proto-idealist and that his ontology is comprised of a fundamental dualism. Adorno is not an informed reader of Aristotle, as his reliance on Zeller makes clear, but he succeeds in drawing the reader’s attention to the organizing force exerted by  upon . The interest in this organizing force is motivated by an interest in the ethics that is consequent upon it: an ethics that ignores the sufferings of the concrete in the name of a rational ideal. While there are echoes of this in Aristotle’s ethical writings, his account of imagination in De Anima ought to give pause to an account as reductive as Adorno’s. In De Anima, Aristotle provides an account of the imagination () that makes it a power reducible neither to  nor to . The imagination, a power of the bodily senses, and especially sight, is a power that grants to thinking its power but is itself the unmotivated actualization of the purely potential. This essay argues that such a power resists interpretation into any dialectical schema insofar as it constitutes a distinct power of the human animal. At the same time, such an interpretation provides a possible route out of the ethical impasse of the unthinkable concrete. (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)

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)

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)

PDF with introduction and front and back materials. Abstract: A provocative examination of the consequences of Levinas’s and Adorno’s thought for contemporary ethics and political philosophy. This book unfolds a dialogue between Emmanuel Levinas and Theodor W. Adorno, using their thought to address contemporary environmental and social-political situations. Eric S. Nelson explores the “non-identity thinking” of Adorno and the “ethics of the Other” of Levinas with regard to three areas of concern: the ethical position of nature (...) and “inhuman” material others such as environments and animals; the bonds and tensions between ethics and religion and the formation of the self through the dynamic of violence and liberation expressed in religious discourses; and the problematic uses and limitations of liberal and republican discourses of equality, liberty, tolerance, and their presupposition of the private individual self and autonomous subject. Thinking with and beyond Levinas and Adorno, this work examines the possibility of an anarchic hospitality and solidarity between material others and sensuous embodied life. -/- “This is an extremely impressive, original, and thorough treatment of two key twentieth-century thinkers and their applicability to the most pressing social and political issues of our time.” — Jeffrey A. Bernstein, author of Leo Strauss on the Borders of Judaism, Philosophy, and History -/- “This book is an excellent and timely contribution to political and environmental philosophy, located around a nuanced historical and philosophical approach to Levinas and Adorno. It will be of great interest to anyone concerned with these figures or with the current moment.” — Martin Shuster, author of Autonomy after Auschwitz: Adorno, German Idealism, and Modernity. (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)

Pretende-se analisar a compreensão de Hannah Arendt e dos teóricos críticos Max Horkheimer e Theodor Adorno sobre o papel da política na ascensão do nacional-socialismo, em seus escritos das décadas de 1930 a 1950. É proposto um estudo comparativo de suas divergências quanto à importância explicativa da política e de suas motivações para a crítica à política moderna. Serão discutidos os diferentes caminhos explicativos, os sentidos atribuídos à autoridade e à ideologia e a particularidade da discussão arendtiana sobre (...) o terror totalitário. Partindo destas análises da política moderna, esta investigação tem por objetivo, em primeiro lugar, demonstrar o caráter estrutural do seu confronto, na concepção de poder inerente à teorização da política, tendo-se em vista o peso da liberdade e da dominação subjetiva e, em seguida, pensar o caráter profícuo de alguns aspectos de suas teorizações à luz da experiência contemporânea. (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)

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)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork (...) is in fact antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (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)

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)

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)

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)

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)

As a contribution to a critical yet responsive materialist ethics of environments and animals, I reexamine the significance of nature and animals in the critical social theory of Theodor Adorno. In response to the anthropocentric primacy of intersubjective discourse and recognition in recent figures associated with the Frankfurt School, such as Habermas and Honneth, I argue for the ecological import of the aporetic dialectic of nature and society diagnosed in Adorno and Horkheimer’s Dialectic of Enlightenment and (...) class='Hi'>Adorno’s later works. Adorno’s continuing confrontation with the “domination of nature” traces the tensions between the ideological construction and resistance of “nature” as well as the instrumentalization and implicit disruptive promise of sensuous life. It indicates the material and bodily bonds between human and animal happiness and suffering, the ambiguous role of mimesis in domination and emancipation, and the critical prospect of an unforced and non-coercive freedom toward the object and answerability toward socially and historically mediated yet non-identical natural life. (shrink)

Reading or hearing about Theodor Adorno's ideas always results in quibbles. He strikes many as a naïve philosopher because of his reversal of concept and object; some see him as an anarchist because of his relentless critique of rationality; while to others he simply does not make sense, and especially a critique of society based on negative dialectics simply does not make sense to many! These points, however, are precisely some of the key elements of his thought; without (...) a deeper apprehension of these main themes, it would be impossible to arrive at a level-headed appraisal of his philosophy. (shrink)

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)

Given its centrality to the intellectual thought processes through which the great structures of logic, nature, and spirit are unfolded it is clear that mediation is vital to the very possibility of Hegel’s encyclopaedic philosophy. Yet Hegel gives little specific explanation of the concept of mediation. Surprisingly, it has been the subject of even less attention by scholars of Hegel. Nevertheless it is casually used in discussions of Hegel and post- Hegelian philosophy as though its meaning were simple and straightforward. (...) In these discussions mediation is the thesis that meanings are not atomic in that the independence of something is inseparable from its relation to something else. Hence being is mediated by nothing, the particular by the universal, the individual by society. But does Hegel ever explain mediation in a way which justifies such use of the concept? The same easy employment of mediation is found in Theodor Adorno whose works are replete with the use of this concept and, indeed, acknowledgements of its Hegelian origin. But the concept of mediation in Adorno’s negative dialectic is operative in an entirely different context from that of Hegel. How, it might be asked, can a concept be so adaptable? I want to argue that mediation is, in fact, an equivocal term which in both Hegel and Adorno covers a variety of entirely different conceptual relations. Furthermore, as propounded by both Hegel and Adorno it lacks the rigour which could allow the particular conclusions which the concept allegedly facilitates. (shrink)

For Hölderlin and Adorno, the power to transcend one’s being-in-nature in order to capture nature in an image, is both the most dangerous and the most beautiful aspect of the human being. Hölderlin develops a model of reconciliation of man with nature where the transcendental power, as soon as it achieves a vision of nature, violates true nature by virtue of its finitude and so must pay for this “hybris” through self-sacrifice. Adorno appropriates this model for the work (...) of art. Nature can never be captured directly, but only indirectly, by the attempt and failure to capture it directly. This is the role of the work of art. A good work of art is one which criticizes its own appearing quality. It recognizes its own hybris and “explodes” its appearance. In the afterglow of this explosion, true nature “expresses itself.” Hölderlin limits this sacrificial model to Greek humanity. Modern humanity does not follow this negative dialectical model of reconciliation with nature. It conditions nature through its movement away from its source. The Modern poem also becomes a type of movement, a pathway involving an alternation of representations or tones. Each poetic “path” creates truth in the process of its own movement. There is no longer any true nature to reconcile with, but nature is transformed by the particular path chosen and followed. In this way, each work of art creates its own destiny. Adorno misses this aspect of Hölderlin. Whereas Adorno needed the sacrificial dynamic to provide a place for philosophical reflection at a safe distance from the work of art, Hölderlin’s Modern dynamic places any philosophical reflection within the material destiny of any individual work. It is Walter Benjamin who recognizes this Modern dynamic and his disagreements with Adorno are reflected in the difference between their interpretations of Hölderlin. What I hope to show most strikingly in this dissertation is the manner in which the work of art is a material thing, a direction, a process and a destiny, and how any engagement with the work operates along its destiny. (shrink)

This paper studies the conflict between critical rationalism and critical theory in Karl Popper and Theodor Adorno’s 1961 debate by analyzing their shared rejection of Karl Mannheim’s sociology of knowledge. Despite the divergences in their respective projects of critical social research, Popper and Adorno agree that Mannheim’s sociology of knowledge is uncritical. By investigating their respective assessments of this research program I reveal a deeper similarity between critical rationalism and critical theory. Though both agree on the importance (...) of critique, they are less concerned with the development of critical consciousness as a focus of this project. In this way, Mannheim’s sociology of knowledge, particularly in its formative stages, revolves around a set of problems relatively inaccessible to critical rationalism and critical theory, since it is centrally concerned with identifying and cultivating the possibility of critique in society. In closing, I gesture to the importance of political education in Mannheim’s early work, suggesting that a return to these experimental texts will yield resources for political thought today. (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)

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)

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)

n seinem analytischen Essay bearbeitet Pege ein unlängst überfälliges Thema. In der Forschung sind die Sprachphilosophien von Horkheimer und Adorno, sieht man von einigen völlig unzureichenden Absätzen in Büchern und von einigen Aufsätzen ab, unberücksichtigt geblieben. Doch ist Sprachphilosophie auch für die beiden Autoren Grundlage ihres Arbeitens. Nicht minder relevant für die Ausbildungen ihrer Philosophien sind Einflüsse aus jüdischer Theologie. Obwohl es Hinweise genug gibt, hat bislang niemand eine vergleichende Erörterung vorgelegt. Gleichgültig, ob man aus systematischem oder historischem Interesse (...) wissen möchte, was die beiden Autoren in Bezug auf philosophische Sprachen beizutragen haben, die Sprachauffassungen und die Verhältnisse zur jüdischen Theologie müssen sorgfältig geklärt werden. Pege gibt nicht nur eine erste, sondern auch eine ausführliche Diskussion und eine plausible vergleichende Lesart. Er stellt die Philosophien als modernen Messianismus heraus. (shrink)

What is the growing appeal of the “Alt-Right” (Alternative Right), a white-supremacist and anti-feminist movement, for young, primarily male, Millennials in the United States? In this chapter, I outline how the Alt-Right uses laughter in its culture industry on the internet to recruit new members to its right extremist ideas. I also explain how laughter connects Alt-Right extremism with Trumpism. Throughout the chapter, I draw on Theodor W. Adorno’s critical theorizing of laughter fabricated by the culture industry to (...) establish the theoretical framework, which I ground with in-depth interviews with Alt-Right members. (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)

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)

Bislang vernachlässigte man in der Forschung sowohl die Ansichten von Horkheimer und Adorno über Sprachgeschichte als auch Zusammenhänge mit jüdischen Theologien, die gemeinsam die Grundlage der Geschichtsphilosophien innerhalb der ‚Dialektik der Aufklärung‘ bilden; mit der vorliegenden Untersuchung werden die Versäumnisse nachgeholt. Matern bietet eine ausführliche, aber sehr konzentrierte Diskussion im Kontext von ethnographischen, philologischen und theologischen Forschungen. Der große Aufwand ist erforderlich, um (a) mögliche Bezüge von Horkheimer und Adorno herausstellen zu können, (b) eine Basis für angemessene Interpretationen (...) zu erhalten. Resultat der Forschung ist, dass beide Autoren unterscheidbare apokalyptisch messianische Theologien entwerfen, die nachweisbar im Kontext von messianischen Ausrichtungen innerhalb der jüdischen Kabbala stehen. (shrink)

In this thesis I try to evaluate the risks and potentials of modern and archaic myths for human existence in a holistical approach. After Adorno's and Horkheimer's critique that enlightment would still be mythical the positive aspects of myth and ancient religion were - with a few exceptions (i.g. Blumenberg, Eliade) - mostly neglected: In the analysis of Critical Theory myth only serves power, its misuse in fashist and capitalistic societies is inevitable; therefore any hint of mythological structures needs (...) to be destroyed. Even so, myth as one of the first tools of sensemaking had made sure that humanity clings to life through entire history. In the words of Baudrillard and Blumenberg, mythical (and, further on, religious and rationalistic) icons preserves their followers to get in touch with an overwhelming reality. The mythical tills the world as an factual entity and, in the cultural aspect, as an entity shapeable by "our" collective power. With the evidence given of increasing difficulties for finding "Bedeutsamkeit" (Blumenberg) in individual life, the bivalency of myth illustrates a promising oppurtunity for individual and existential sensemaking. (shrink)

Contemporary debates about ideal and nonideal theory rest on an underlying consensus that the primary practical task of political theory is directing action. This overlooks other urgent practical work that theory can do, including showing how injustice can be made bearable and how resisting it can be meaningful. I illustrate this important possibility by revisiting the purpose for which John Rawls originally developed the concept of ideal theory: reconciling a democratic public to living in a flawed world that may otherwise (...) seem more of a home for catastrophe than justice. However, Rawls’s account of reconciliation is flawed; because of his methodology, the realistic utopia he constructs as a source of hope can be used to defend an unjust status quo. By drawing lessons from Theodor Adorno’s contrasting view of reconciliation after the Holocaust, I offer a more democratic method for political theory to offer sources of hope to the public. (shrink)

This dissertation aims to analyze, clarify, and reconstruct the concept of class consciousness by developing a dialectical account of political agency at work in the concept. I defend a dialectical account of agency, that includes both the way in which individuals come together to form groups, but also the capacity of a collective to transform social conditions. I argue that this account of political agency is necessary in order to understand the possibility of social transformation or change. I trace the (...) development of the relationship between consciousness and agency in the early tradition of Western Marxism, focusing primarily on the account of class consciousness given by Georg Lukács in History and Class Consciousness. Against his account of the world historical agency of a unified proletariat, however, I defend Theodor Adorno’s insistence on nonidentity, and the importance of unreconciled groups in capitalist society. In order to understand these groups, such as the vanguard, party, or proletariat, we must understand the way in which individuals form groups, as well as their inherent collectivity. -/- My account of the political agency at work in the concept of class consciousness is broadly speaking pluralist. I argue that a multiplicity of methodologies is needed in order to arrive at a complete picture of the concept. I defend an account of class consciousness that is neither reductive nor deflationary with respect to other dimensions of social domination. This class forward approach seeks to build intersectional political coalitions in order to undertake revolutionary action. Successful revolutionary social transformation is never guaranteed in advance; however, the concept of class consciousness, reconstructed through the lens of political agency, offers conceptual resources to address the problems of today, for the sake of a better tomorrow. (shrink)

In Postpolitics and the Limits of Nature, Andy Scerri offers a comprehensive overview of the relationship between Critical Theory and the US environmental movement from the 1960s to the present, refracted through the lens of the American Left. He examines why past generations of radical ecological and social justice scholarship have been ineffective in the fight against injustice and rampant environmental exploitation. Scerri then engages a new wave of radicals and reformists who, in the wake of the Occupy movement and (...) the 2016 presidential election, are reinventing the radical project as a challenge to injustice in the Anthropocene era. Along the way, he provides a fresh account of the thought of one of the major contributors to critical theory, Theodor Adorno, and of recent work that seeks to link Adorno’s ideas to the so-called new realism in political philosophy and political theory. (shrink)

Abstract This paper argues that the concept of authenticity has evolved since the time of Adorno’s critique in The Jargon of Authenticity, and that an analysis of tourism offers a way of grasping the altered status of the concept of authenticity and its current ideological function in the contemporary capitalist system. It is suggested that authenticity no longer refers to an existential state, but instead to a purchased experiential moment. This paper traces the alterations in the understanding of existential (...) authenticity from its origins in existential phenomenology to its current status as a key concept in tourism research. It suggests that, while Adorno’s critique of authenticity has become somewhat outdated due to changes in the social relations of modern capitalism, its central argument still holds true, in that contemporary notions of authenticity still play an ideological role in securing the socio-economic status quo by both expressing and concealing the sense of alienation caused by social relations under capitalism. (shrink)

Investigando a racionalidade científico-técnica e a lógica da dominação na relação entre o sistema educacional e a formação econômico-social, o artigo traz como fundamento crítico as análises de Marcuse, Adorno e Bourdieu, recorrendo à produção de Entre os muros da escola (2008), do cineasta francês Laurent Cantet, para caracterizar o pluralismo étnico-racial, socioeconômico e histórico-cultural da realidade social e a tensão que se impõe ao processo de construção do conhecimento que, convergindo para a constituição da “natureza” humana, encerra ambivalência (...) e antagonismo, à medida que se não escapa ao determinismo histórico-cultural e econômico-social, a sua atividade não possibilita senão o exercício da liberdade concreta, tendo em vista a dialética que preside a articulação envolvendo objetividade e subjetividade que implica a sua experiência formativa. (shrink)

Resumen: Los trabajos abordan, desde diferentes perspectivas a la categoría de sujeto como una categoría crucial del pensamiento contemporáneo. El ámbito de preocupaciones es amplio: la perspectiva del filósofo norteamericano S Cavell quien hace una originalísima recepción de la herencia de Austin y Wittgenstein; la perspectiva fenomenológica de Sartre en diálogo y conflicto con la del psicoanálisis lacaniano y las reconceptualizaciones de la ideología realizadas por Louis Althusser; la constitución del sujeto en tensión entre la sujeción al poder y las (...) posibilidadesde resistencia según la perspectiva de Judith Butler; una relectura de la implicación de estructura y sujeto en la perspectiva estructural abierta por Saussure y continuada por Lévi-Strauss, Benveniste y Lacan, tema que recibe un tratamiento circunscripto al pensamiento del argentino Ernesto Laclau, en el que se distinguen distintas etapas; las implicaciones que los eventos fundamentales de la historia del siglo XX acarrean para una conceptualización de la subjetividad en la perspectiva de Theodor Adorno y las limitaciones que la conceptualización de la obra de arte como juego en la obra de Gadamer impone a la concepción moderna de la subjetividad. -/- Índice: Presentación del compilador La crítica de Heidegger a la noción de sujeto: un análisis a partir de la incidencia de su reflexión sobre la técnica y el lenguaje, Luciana Carrera Aizpitarte El juego como auto-representación y modo de ser de la obra de arte en la estética hermenéutica de Gadamer, Paola Belén El yo sobre la línea de ficción: análisis de las concepciones de Sartre y Lacan, Luisina Bolla El poder y el sujeto. Sujeción, norma y resistencia en Judith Butler, Matías Abeijón Theodor W. Adorno: la crítica al sujeto después de Auschwitz, Gustavo Robles Estructura, discurso y subjetividad, Pedro Karczmarczyk Transformaciones, rupturas y continuidades entre la perspectiva de Ernesto Laclau y la tradición (post)estructuralista, Hernán Fair La recuperación del sujeto: escepticismo, autoconocimiento y escritura en S. Cavell, Guadalupe Reinoso . (shrink)

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)

These essays reveal another side of Horkheimer, focusing on his remarkable contributions to critical theory in the 1930s. Max Horkheimer is well known as the director of the Frankfurt Institute for Social Research and as a sometime collaborator with Theodor Adorno, especially on their classic Dialectic of Enlightenment. These essays reveal another side of Horkheimer, focusing on his remarkable contributions to critical theory in the 1930s. Included are Horkheimer's inaugural address as director of the Institute, in which he (...) outlines the interdisciplinary research program that would dominate the initial phase of the Frankfurt School, his first full monograph, and a number of other pieces published in the 1930s. The essays, most of which have not appeared in English before, are surprisingly relevant to current post-philosophy debates, notably "On the Problem of Truth," with its focus on pragmatism, and "The Rationalism Debate in Current Philosophy," a sustained critique of the post-Cartesian philosophy of consciousness. Horkheimer's 1933 critique of Kantian ethics, "Materialism and Morality," is of particular interest given the current reaction to the neo-Kantian aspect of Habermas's work. There are also essays relevant to the current foundations debate within Continental philosophy, and the rationality/relativism question is sustained throughout the volume. (shrink)

I argue how one’s afterimage of art has turned ideological due to technology’s heavy influence in the reproduction of and to individuals’ incessant consumption of artworks. Art has the capacity to be historicity’s expression and its antithesis. Its reach has been enlarged due to technology’s democratization of artworks. It should follow that mass production of artworks foster an emancipatory and critical standpoint, yet this fostered instead the reduction of priceless and fine artworks to commodities, easily downloadable and available for public (...) consumption. Rather than being society’s antithesis, the afterimage of emancipation has been fetishized into an ideological-image of fulfilling a fantasy (the promise of ‘jouissance’). The 20th century’s dictum “They know very well it is false and [are] still doing it!” embodies the consequence – despite the empty promises – of capitalism: liberation ideology (a mistaken understanding of ideology as liberation). (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)