The five interlocked essays, based on material from Adorno's "aesthetic writings," take up such issues as subjective aesthetic experience, the historicity of ...

For two decades the German edition of this book has been a standard reference point for students of the philosophy of the social sciences in Germany. Today it still stands as a unique and masterful guide to the major problems and possibilities in this field.On the Logic of the Social Sciences foreshadowed the direction in which methodological discussions have traveled since it appeared and anticipated the problems they presently face. Habermas's statement of the principal issues is concise and elegant, and (...) his own original resolution of them is of continuing relevance. He considers the main lines of thought pursued by epistemologists and methodologists of the social sciences, from neo-Kantianism to behaviorism, and from problems of measurement to those of interpretive logic, in a sustained and provocative argument that involves analysis and critique at every point and ends with his own sharply profiled position.Beginning with the turn of the century debates on the distinction between natural and cultural sciences, Habermas discusses the relationship between sociology and history. He takes up the problem of a general theory of social action, focusing first on the nature of "interpretive understanding" and then on the scope and limits of functionalist explanation. In the concluding sections, he draws on psychoanalysis and classical social theory to sketch the outlines of his view of sociology as a critical theory of the present. Along the way he provides a great deal of material that is useful in understanding his own work.Jürgen Habermas is Professor of Philosophy at the University of Frankfurt. On the Logic of the Social Sciences is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

This short masterwork in twentieth-century philosophy provides both a major reinterpretation of Hegel and insight into the evolution of Adorno's critical theory. The first study focuses on the relationship of reason, the individual, and society in Hegel, defending him against the criticism that he was merely an apologist for bourgeois society. The second study examines the experiential content of Hegel's idealism, considering the notion of experience in relation to immediacy, empirical reality, science, and society. The third study, "Skoteinos," is an (...) unusual and fascinating essay in which Adorno lays out his thoughts on understanding Hegel. In his reflections, which spring from his experience teaching at the Goethe University in Frankfurt, questions of textual and philosophical interpretation are intertwined.Rescuing the truth value of Hegel's work is a recurring theme of the critical theory of the Frankfurt School, and nowhere is this goal pursued with more insight than in these three studies. The core problem Adorno sets for himself is how to read Hegel in a way that comprehends both the work and its historical context, thereby allowing conclusions to be drawn that may seem on the surface to be exactly opposed to what Hegel wrote but that are, nevertheless, valid as the present truth of the work. It is the elaboration of this method of interpretation, a negative dialectic, that was Adorno's underlying goal.Adorno's efforts to salvage the contemporaneity of Hegel's thought form part of his response to the increasingly tight net of social control in the aftermath of World War II. In this, his work is related to the very different attempts to undermine reified thinking undertaken by the various French theorists. The continued development of what Adorno called "the administered world" has only increased the relevance of his efforts. (shrink)

Adorno und Horkheimer zufolge prägt die Kulturindustrie alle Facetten des gesellschaftlichen Lebens und reicht bis in die tiefsten Fasern der subjektiven Erfahrung des Individuums hinein. Entsprechend hielt Adorno im Vorwort der Minima Moralia fest: „Was einmal den Philosophen Leben hieß, ist zur Sphäre des Privaten und dann bloß noch des Konsums geworden, die als Anhang des materiellen Produktionsprozesses, ohne Autonomie und ohne eigene Substanz, mitgeschleift wird.“ Seit Adorno und Horkheimer diese prägende Wirkung der Kulturindustrie auf die subjektive Erfahrung erstmals beschrieben (...) haben, hat sie nicht an Durchsetzungskraft verloren. (shrink)

For the work of listening can be understood as a collaboration with the musical work itself, and in this sense for Adorno listening, as will be discussed below, is an activity of co-composing or reconstituting the music. Certainly Adorno’s dialectical philosophical approach is at great variance with the 'empirical musicology'2 through which contemporary music studies explores these topics, but its contemporary relevance is all the greater in that it puts Adorno’s contributions in the larger context of critical social theory and (...) its commitment to sustaining the human capacity for a vision of emancipation. It is not my intention here to enter into a detailed consideration of the relationship between Adorno’s perspective and the work of contemporary musicologists and music theorists. Rather, my aim is to elaborate Adorno’s conception of the work of listening in some detail, in the context of his thinking about what he calls ›the new music‹ and its place in the history of Western art music. (shrink)

A psychological exploration of how the love of nature can coexist in our psyches with apathy toward environmental destruction.

Jürgen Habermas is well known for his scholarly works on the theoretical foundations of the human sciences. The New Conservatism brings to light another side of Habermas's talents, showing him as an incisive commentator on a wide range of contemporary themes.The 1980s have been a crucial decade in the political life of the Federal Republic of Germany. The transformations that accompanied a shift from 13 years of Social Democratic rule to government by the conservative Christian Democrats are captured in this (...) series of insightful, often passionate political and cultural commentaries. The central theme uniting the essays is the German problem of "coming to terms with the past," a problem that has important implications outside Germany as well.Of particular note are the essays on what has come to be known as the Historians' Debate: Habermas's attack on the revisionist German historians who have been trying to trivialize and "normalize" the history of the Nazi period, and his defense of the need for a realistic and discriminating coining to terms with the past in Germany. Habermas also takes up the recent fracas concerning Martin Heidegger's involvement with Nazism and the rise of the neoconservative movement in Europe and America. In particular, the essay on "The New Obscurity" combines Habermas's analysis of the problems of the welfare state with his suggestions for avenues open to utopian impulses today.Jürgen Habermas is Professor of Philosophy at the University of Frankfurt. The New Conservatism is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

Adorno's rehearsal of the modernist problematic of representation is be lated enough to include a matter of crucial interest for us today... and this is a reflection on and a thematization of the passing of the modern itself, the reasons for its obliteration, and some dawning apprehension of an intellectual landscape in which the negative, or "critical theory", will have definitely become a thing of the past.

Reviews : Peter Uwe Hohendahl, Reappraisals: Shifting Alignments in Postwar Critical Theory ; Theodor W. Adorno, Notes to Literature: Volume One, ed. Rolf Tiedermann, trans. Shierry Weber Nicholsen.

A brilliant collection of short essays on literary subjects e.g. Beckett, Balzac, Proust, Thomas Mann, Dickens, Goethe, Heine, the lyric, realism, the essay, and the contemporary novel by the great social theorist (1903-1969), originally published in 1958 as Noten zur literature (Suhrkamp Verlag, F.

The author, a noted literary critic, presents a selection of his thought on Balzac, Valery, Dickens, Goethe, Heine, Hoelderlin, lyric poetry, realism, the essay and the contemporary novel.

A brilliant collection of short essays on literary subjects--e.g. Beckett, Balzac, Proust, Thomas Mann, Dickens, Goethe, Heine, the lyric, realism, the essay, and the contemporary novel--by the great social theorist (1903-1969), originally published in 1958 as Noten zur literature (Suhrkamp Verlag, Frankfurt am Main), and here translated by Adorno's former student, Shierry Weber Nicholsen. Annotation copyrighted by Book News, Inc., Portland, OR.

In lieu of an abstract, here is a brief excerpt of the content:Benjamin ReduxGerhard RichterProfane Illumination: Walter Benjamin and the Paris of Surrealist Revolution, by Margaret Cohen; 271 pp. Berkeley: University of California Press, 1993, $35.00 cloth, $14.00 paper.Walter Benjamin and the Antinomies of Tradition, by John McCole; xiii & 329 pp. Ithaca: Cornell University Press, 1993, $45.00 cloth, $18.95 paper.Walter Benjamin’s Passages, by Pierre Missac, trans. Shierry Weber Nicholson; xvii & 221 pp. Cambridge: MIT Press, 1995, $25.00.Walter Benjamin’s (...) Philosophy: Destruction and Experience, edited by Andrew Benjamin and Peter Osborne; xiv & 298 pp. London: Routledge, 1994, $65.00 cloth, $18.95 paper.The word of ambition at the present day is Culture. Whilst all the world is in pursuit of power, and of wealth as a means of power, culture corrects the theory of success,” writes Emerson in his 1860 essay “Culture.” 1 Perhaps at no point since the publication of Emerson’s essay has the diagnosis it advances been more relevant than today, some 136 years later, when “Culture,” at least in the methodological and political struggles within the academy, has again become the word of ambition. As in Emerson’s nineteenth-century America, those who today pursue that word most ardently also tend—in their struggle to explicate history and culture—to shy away from the persistent instability of meaning with which the texts that they take as their objects of study are vexed. In other words, they are afraid of earthquakes. For Emerson continues: [End Page 200] “There are people who can never understand a trope, or any second or expanded sense given to your word, or any humor; but remain literalists, after hearing the music, and poetry, and rhetoric, and wit, of seventy or eighty years. They are past the help of surgeon or clergy. But even these can understand pitchforks and the cry of fire! and I have noticed in some of this class a marked dislike of earthquakes.” 2It has become one of the methodological orthodoxies of the new contextualism, the increasingly prominent engine driving a continuing metamorphosis of what is perhaps no longer usefully called “Humanities,” to posit a relatively transparent, unproblematic relationship between a textual artifact and its larger cultural or historical context. It is precisely this complex relationship between text and culture—and the theoretical possibility of doing justice to it—that this review of four new publications on Walter Benjamin will revisit.The urgent promise to think through the complicated relationship between text and culture, between the idiomatic artifact and its historical formation, has yet to be fulfilled. How does one account for the singularity of a specific instance of signification, be it a literary text, a film, or a neon sign, articulating the relationship between it and the cultural paradigm that gave rise to it and to which it gave rise? How might one talk about a text’s historicity without forcing a hasty assimilation of it into a crudely mimetic model? One way out of the difficulty, of course, is to suppress the vicissitudes of language altogether, with an eye to hastening the assimilation of a text, seen primarily as illustrative or evidential material, into pre-established assumptions. An example of such a dissatisfactory answer can be found in the introduction to a recent programmatic publication, in which the editors triumphantly proclaim: “Thus, for example, although there is no prohibition against close textual readings in cultural studies, they are also not required.” 3 A marked dislike of earthquakes is at work here. What is more, the logic of such a statement goes as follows: because close reading is no longer necessary, it is dispensable, and therefore eventually no longer performed at all. One is tempted to invoke the famous language of Kafka’s chaplain in The Trial who reprimands Joseph K. for his failure to read closely: “You have not enough respect for writing and you are altering the story.” 4Such methodological difficulties only get worse when one considers the particular problem posed to scholarship by the case of Walter Benjamin, the German-Jewish critic, writer, and philosopher now widely regarded as one of the most significant theorists of our century. On the [End Page 201] one... (shrink)

The thesis of this book is that Herbert Marcuse is "indispensable to the theory and practice of the New Left." The one-dimensional quality of contemporary everyday life is to be disrupted by a critical theory of society based upon the works of Karl Marx as interpreted and brought to bear upon the 20th Century. Hence, this collection of six New Left studies on Herbert Marcuse is called Critical Interruptions. The contributors are former students of Marcuse and all are younger than (...) thirty-five. The work is dedicated to Theodor W. Adorno and Ho Chi-Minh. The book is poorly edited; not only does the heavy Marcusean terminology make intelligibility slow; but poor rhetoric, grammar and punctuation also add to the slowness of the pace. The content of the essays, however, is uniformly very worthwhile and the book deserves a careful reading. The Marcuse Festschrift of 1967, edited by Kurt H. Wolff and Barrington Moore, Jr., entitled The Critical Spirit, was a collection of essays "in honor of Herbert Marcuse." This 1970 book, Critical Interruptions, is addressed to the exposition, up-dating and critique of Marcuse himself. Therefore, this present work is of immediate help to all readers and students of Marcuse. Paul Breines, the editor, wrote the first essay, "From Guru to Spectre: Marcuse and the Implosion of the Movement"; this is a history of Marcuse's relation to the New Left over the past few years. The second essay, "Individuation as Praxis," by Shierry M. Weber, is an incisive and insightful critique of the New Left while studying the meaning of praxis, the personal dimensions of individuality and exploring realistic alternatives for a viable counter culture. "Reversals and Lost Meanings" by Russell Jacoby is a short attempt at dialectics. William Leiss' study, "The Critical Theory of Society: Present Situation and Future Tasks," is a fine review of the major representatives of the Frankfurt School of social philosophers. "On Sexuality and Politics in the Work of Herbert Marcuse" by John David Ober, explains the continuity and development in Marcuse's thought on sexuality from Eros and Civilization through One-Dimensional Man. Finally, the last essay, "One-Dimensionality: The Universal Semiotic of Technological Experience" by Jeremy J. Shapiro is an extended commentary on Marcuse's most recent thought as applied to the advancing technology of the age. The editor openly disclaims any inner unity to the six essays. The studies, however, reveal that at least these six students of Marcuse from the New Left understand the Master very well and are able to extend his thought successfully to key contemporary issues. At the end, there is a greater unity to the book than the editor anticipated.--E. W. R. (shrink)