Frankfurt School critical theory has long opposed metaphysical philosophy because it ignores suffering and injustice. In the face of such criticism, proponents of metaphysics (for example Dieter Henrich) have accused critical theory of not fully investigating the questions is raises for itself, and falling into partial metaphysical positions, despite itself. If one focuses on Max Horkheimer's early essays, such an accusation seems quite fitting. There he vociferously attacks metaphysics, but he also develops a theory that pushes toward metaphysical questions. His (...) work can thus seem laden with unpacked metaphysical baggage, and fraught with contradiction. The aim of this paper is to show that Horkheimer's critique of metaphysics makes sense and is not contradicted by a surreptitious metaphysics. To show this, Horkheimer's views will be compared with Bas van Fraassen's in The Empirical Stance . Ultimately, the paper should show that Horkheimer's early philosophy can be reconstructed in such a way that it employs a 'materialist stance'. (shrink)

Our aim in this article, after providing the general framework of the reception of William James in Spain, is to trace the reception of The Varieties of Religious Experience through Unamuno’s reading of this book.

The ethical turn that affects artistic and political practices today should not be interpreted as their subjection to moral criteria. Today, the reign of ethics leads to a growing indistinction between fact and law, between what is and what ought to be, where judgement bows down to the power of the law imposing itself. The radicality of this law is that it leaves no choice, and is nothing but the simple constraint stemming from the order of things. This brings about (...) an unprecedented dramaturgy of infinite evil, justice and redemption that can be traced not only in contemporary politics, but in philosophical reflection and film. (shrink)

First published, here, in English. Reproduced (also in English) in Adorno's Gesammelte Schriften, 20.I.

This paper investigates the potential of the concept of sublimation for thinking subjectivity at the intersection of psychoanalysis and critical theory. I first rehearse a recent argument by Whitebook that Freud’s notion of sublimation presents a nonviolent integration and expansion of the ego, which can mediate the modern dichotomy between the rational subject and nonrational impulse and desire. On this view, sublimation turns subjectivity into a site of possibility in the context of modern, rationalized thought and society. I then argue (...) that the concept of sublimation offered to critical theory in this form is insufficiently developed. Both Freud and Adorno analyze a deep-seated destructiveness of the modern subject, which turns up right at the heart of attempts to mediate the dichotomies of rationalized modernity. What is needed to counter this problem is a theory of love in which love is not separated from, but, rather, correlated with drive and desire, and can thereby get on a level with the unconscious or unacknowledged, impulsive nature of death-bearing subjectivity in enlightened modernity. A central conception in Kristeva’s development of Freudian psychoanalysis, the idea of transference love, delivers such a theory and thereby develops the concept of sublimation in the way that is needed at the intersection of psychoanalysis and critical theory. (shrink)

Despite accusations of irresponsibility and negativity, Jacques Derrida's deconstruction has had an immense influence on contemporary social, political and cultural critique. 'Evolving negativity' offers a preliminary explanation of this influence by tracing the philosophical 'family tree' that links deconstruction to German Critical Theory via the Frankfurt School. The paper explores the origins of a certain dynamic and productive notion of negativity in Hegel's dialectic and describes its 'evolution' in the works of Max Horkheimer and Theodor Adorno as a process of (...) de-determination that finds its culmination in Derrida's notion of 'différance'. Set free of its totalizing, teleological force, Derrida's negativity as 'différance' is compared with Hegel's more general and generative notion of Negativität. The paper concludes that for this branch of 'critical' thinking, to flourish in the shadow of Hegel means also to be continually reinventing his respect for difference and negativity, and transforming it to respond to the questions of the present. Key Words: Adorno • Critical Theory • deconstruction • Derrida • dialectic • différance • difference • Hegel • Horkheimer • negativity. (shrink)

It is the persistence of social suffering in a world in which it could be eliminated that for Adorno is the source of the need for critical reflection, for philosophy. Philosophy continues and gains its cultural place because an as yet unbridgeable abyss separates the social potential for the relief of unnecessary human suffering and its emphatic continuance. Philosophy now is the culturally bound repository for the systematic acknowledgement and articulation of the meaning of the expanse of human suffering within (...) technologically advanced societies that are already committed to liberal ideals of freedom and equality. (shrink)

The article explores the character of Adorno’s materialism while fleshing out his Marxist-inspired idea of natural history. Adorno offers a non-reductionist and non-dualistic account of the relationship between matter and mind, human history and natural history. Emerging from nature and remaining tied to it, the human mind is nonetheless qualitatively distinct from nature owing to its limited independence from it. Yet, just as human history is always also natural history, because human beings can never completely dissociate themselves from the natural (...) world, nature is inextricably entwined with human history. Owing to the entwinement of mind and matter, humanity and nature, a version of dialectical materialism can be found in Adorno’s work. Key Words: body • dialectics • Hegel • history • idealism • Marx • materialism • mind • nature • Timpanaro. (shrink)

Theodor W. Adorno and Jürgen Habermas both champion the goal of a rational society. However, they differ significantly about what this society should look like and how best to achieve it. Exploring the premises shared by both critical theorists, along with their profound disagreements about social conditions today, this book defends Adorno against Habermas' influential criticisms of his account of Western society and prospects for achieving reasonable conditions of human life. The book begins with an overview of these critical theories (...) of Western society. Both Adorno and Habermas follow Georg Lukács when they argue that domination consists in the reifying extension of a calculating, rationalizing form of thought to all areas of human life. Their views about reification are discussed in the second chapter. In chapter three the author explores their conflicting accounts of the historical emergence and development of the type of rationality now prevalent in the West. Since Adorno and Habermas claim to have a critical purchase on reified social life, the critical leverage of their theories is assessed in chapter four. The final chapter deals with their opposing views about what a rational society would look like, as well as their claims about the prospects for establishing such a society. Adorno, Habermas and the Search for a Rational Society will be essential reading for students and researchers of critical theory, political theory and the work of Adorno and Habermas. (shrink)

Throughout his work, Adorno contrasted liberal ideology to the newer and more pernicious form of ideology found in positivism. The paper explores the philosophical basis for Adorno's contrast between liberal and positivist ideology. In Negative Dialectics, Adorno describes all ideology as identity-thinking. However, on his view, liberal ideology represents a more rational form of identity-thinking. Fearing that positivism might obliterate our capacity to distinguish between what is and what ought to be, Adorno sought a more secure foundation for his critique (...) of existing conditions. He found this basis in liberal discourse. In the concept of freedom, for example, Adorno located ideas or ideals that negate and transcend the given. One of the conditions for the possibility of critical thought lies in such ideas; critical thinking consists in wielding the more emphatic content of concepts against the pathic rationality of existing conditions. Far from prescribing mimesis as the antidote to a damaged social, political and economic reality, then, Adorno advocates a more dialectically inflected use of concepts as the basis for social criticism. Key Words: Adorno • Critique • Identity • Ideology • Liberalism • Positivism. (shrink)

Adorno's conception of conceptually articulated experience can be defended and made fruitful for a critical philosophy after the so-called linguistic turn. The aim is both to answer the criticisms raised by Jürgen Habermas and others that Adorno's philosophy remains bound by the premises of a subject-centred philosophy, and to criticize social-pragmatism from the vantage-point of Adorno's philosophy of language. It is shown that Adorno is committed to a picture of experience very much in line with the recent views of John (...) McDowell, which extends the space of reasons beyond the space of concepts. Further, it is shown that non-inferential justification can be combined with an expressivist picture of judgment. Finally, it is argued that what is called the extended space of reasons is ultimately social; that representation, the aboutness of thought, serves expressive roles in a socially articulated space of reason-giving. The advantage of Adorno's position vis-à-vis a one-sided social-pragmatism consists in his defence of what is called subjective-material proprieties of judgment. Adorno's idea that the extended space of reasons implies the acknowledgement of what he refers to as the non-identical within conceptually articulated experience is thus reconstructed and defended. Such non-identity, it is claimed, is exhibited in successful art-works which thereby ought to be counted as forms of reasoning. On this basis, Adorno's philosophy acquires critical and normative significance after the linguistic turn. (shrink)

I argue that the reflections on language in Adorno and Heidegger have their common root in a modernist problematic that dissected experience into ordinary experience, and transfiguring experiences that are beyond the capacity for expression of our language. I argue that Adorno’s solution to this problem is the more resolutely “modernist” one, in that Adorno is more rigorous about preserving the distinction between what can be said, and what strives for expression in language. After outlining the definitive statement of this (...) problematic in Nietzsche’s early epistemological writings, I outline Heidegger’s solution and subsequently Adorno’s critique of Heidegger. Finally, I argue that situating Adorno within the modernist problem of language and expression is crucial for making sense of his philosophy as a form of critical theory. (shrink)

I argue in this paper that a recovery of the cognitive role of the experiencing subject is the common theme uniting Theodor Adorno's philosophy and Marcel Proust's literary project. This shared commitment is evidenced by the importance given by both thinkers to the expressive dimension of language in relation to its social function as a vehicle for communication. Furthermore, I argue that Adorno and Proust conceive of language's expressive dimension as the expression of suffering. However, whereas, for Proust, this means (...) the private suffering of the artist transforming itself into a work of art, for Adorno it means suffering that is rooted in sociohistorical conditions. It is this thesis, I suggest, that enables Adorno to employ the recovery of the experiencing subject as a form of social criticism. (shrink)

This essay engages in a comparative analysis of Theodor W. Adorno and Hannah Arendt. It does so by situating both thinkers in terms of their respective Auseinandersetzungen with the fundamental ontology of Martin Heidegger. While Heidegger seeks to engage in a Destruktion of the opposition between time and being, Adorno and Arendt seek to understand this relation critically in terms of the concept of ‘natural history’. For both, a reading of Kant’s Third Critique becomes the indispensable means by which it (...) is possible to locate a path pointing beyond the chiasmic structure of natural history. Key Words: Adorno • aesthetic experience • Arendt • Heidegger • history • inter-subjectivity • judgement • phenomenology • politics • writing. (shrink)

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

By comparing Adorno's conception of evil with those of Kant and Levinas, it is argued that the commitment to a notion of materialist transcendence, which Adorno introduces as a philosophical response to Auschwitz, is compatible with an equally strong commitment to philosophical modernity and autonomy. Whereas Kant's moral theology, on the one hand, proceeds in a too immanent fashion, and Levinas's heterology, on the other, in seeking to explode ontology, denies the conditions of thought's rational responsiveness, Adorno succeeds in combining (...) the quest for radical otherness with an idealist interpretation of modernity. Key Words: Adorno • Auschwitz • evil • Kant • Levinas • metaphysics • modernity • moral theology • transcendence. (shrink)

rgen Habermas' view that Adorno's thinking is characterized by a commitment to a philosophy of consciousness, and that therefore the only alternative to identitarian reason is to appeal to an intuitive competence operating beyond the range of conceptual thought, it is arged (1) that Adorno conceptualizes the modern epistemic subject (the subject of a philosophy of consciousness) as based on a reification, and (2) that he denies the possibility of a concept-transcendent (foundationalist) constraint on judgments. In seeking to demonstrate against (...) versions of subjective idealism and foundationalism how thought can be responsive to a non-identical (mind-independent) reality, Adorno defends an intersubjectivist and historicist view of knowledge according to which the operative and yet anamnetic aspiration of knowledge is to know reflectively the object as it is in itself. The conclusion is that although Adorno questions the modern (Kantian) stress on epistemic autonomy, he does not take leave of modernity in the sense ascribed to him by Habermas. Key Words: Adorno • epistemology • Habermas • idealism • modernity. (shrink)

The article stages the beginning of a virtual conversation between Levinas's 'ethics as first philosophy' and Adorno's negative dialectic. Part I frames the problem: for both thinkers the task of critique depends on some access to a 'fixed point' for transcendence (Levinas) or a 'standpoint removed' from the domain of existence (Adorno). Part II traces the deep, even essential, connection both perceive between knowledge and violence, a link which brings the possibility of critique even more stringently into question. A standpoint (...) removed must be both less and more than knowledge. Part III sketches Adorno's response to this dilemma in the tracing of a negative dialectic, a thinking that is 'the morality of thought', and one that turns traditional dialectics inside-out. Negative dialectic seems to meet Levinas's ethical criteria for critique. Part IV outlines Levinas's response: the fixed point for critique is in the proximity and sensibility of the ethical relation that lies behind all formal alterity and therefore behind all ontology and all cognition, whether pre-dialectical, dialectical, or post-dialectical. Yet the ethical relation cannot be said except in terms virtually dependent on negative dialectic. Part V examines a potential Levinasian criticism of Adorno and a potential Adornian criticism of Levinas. The fulfillment of the ambition of each would require him to adopt the standpoint of the other. And this may be possible in that thinking along with each demands that one think not only of multiple perspectives but with them. Key Words: Adorno • critique • dialectic • ethics • knowledge • Levinas • negative • proximity • transcendence • violence. (shrink)

Heidegger formulates the artwork's origin in a movement against the false motion of portrayal and repetition. The term mimesis is employed in the present essay to describe this origin and the means by which truth 'happens', specifically when mimesis turns against itself as imitation. The movement of the artwork is considered within the following constellation: the concept of mimesis is examined in light of Heidegger's 'Origin' essay to illuminate the concept and the essay by placing both in relation to Adorno's (...) aesthetics (especially the way mimesis figures there) as well as Kant's doctrine of the sublime- via Lyotard's Lessons on the Analytic of the Sublime. The movement of the artwork toward truth is presented as the movement of mimesis. Further, for both Heidegger and Adorno's accounts, the mimetic movement of the artwork parallels the movement of aesthetic judgment, especially as it is construed in regard to Kant's doctrine of the sublime. Key Words: aesthetic judgment • .art theory • . beauty • . mimesis • . the Sublime. (shrink)

The Anglo-American reception of Adorno has secularized his thought and thus missed its normative basis. In this article, the 'constella-tion', a central feature of Adorno's philosophy, is traced to Hermann Cohen's anti-immanentist notion of 'Korrelation' and to Benjamin's attempt to discover a radically Kantian and adamantly Jewish ontology and concept of the truth. Adorno's works are shown to limn a critical measure for being and for reason, based on a very un-Hegelian refusal of immanence and on a commitment to a (...) regulative, if not constative, principle of redemption. Key Words: Theodor W. Adorno • Walter Benjamin • Hermann Cohen • critical theory • neo-Kantianism • ontology • redemption • truth. (shrink)

The aim of this book is to understand what Deleuze and Guattari mean by "art." Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art "is" means understanding how it works, what it does, how it "becomes," and finally, how it lives. This book illuminates these philosophers' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning (...) of aesthetic criteria as they are normally understood. (shrink)

In this essay I offer a philosophical-political reconstruction of Theodor Adorno's engagements with jazz. Rather than consider whether or not Adorno got jazz 'right', I give an account of how and why Adorno develops the criticisms that he does. I argue that in Adorno's analysis of jazz three interpenetrating claims emerge: (1) a rejection of jazz's sense of improvisation and spontaneity; (2) a demonstration of jazz's entwinement with the modern technologiza tion of everyday life; and (3) a critique of jazz's (...) pseudo-individualiz ing tendencies. I conclude with a brief consideration of the place and critical possibilities of music in Adorno's critique of modernity. Key Words: capitalism • democracy • modernity • pseudo individualization • rescuing critique. (shrink)