Introduction: Setting the scene -- The soul, Dharma, and liberation -- The supreme person's descent -- The path of enlightened action -- The path of classical yoga -- The vision of the supreme, I -- Quitting the body, the ephemeral, and eternal worlds -- The vision of the supreme, II -- Seeing the supreme in this world -- The revelation -- Stages of devotion -- The vision of the supreme in the heart -- The three Gusas -- The journey from (...) bondage to liberation -- The divine and the demonic -- The manifestation of the three Gusas in human life -- Summary and conclusion: Surrender to Kusa alone. (shrink)
This paper offers a literary and ideological deconstruction of the Bhāgavata Purāa; it traces the Purāa's formation through the convergence of the Vedāntin, the Aesthetic and the Vaiava traditions, and argues that it is the doctrine of Pariāma which underlies the treatise. I first examine the Bhāgavata Purāa's literary components; the roots of these are traced back historically to the Vedānta and Ālvār traditions, and the Bhāgavata Purāa's nature as an opus universale, representing an all Indian cultural 'melting pot', is (...) highlighted. The paper then looks at the relations of Vaiavism and dramaturgy, both historically as well as theologically, and argues that the Bhāgavata Purāa was traditionally read as a drama. It proceeds to decipher the aesthetic theory underlying the Bhāgavata Purāa, and argues that it is Bharata's dramaturgical rasa theory. Within the rasa tradition, Abhinavagupta's and Bhoja's positions are highlighted and compared through three seminal points and it becomes apparent that the Bhāgavata Purāa's underlying aesthetic theory is close to the Pariāma doctrine of Bhoja where gāra is considered to be the supreme rasa. As Bhoja's date is no doubt later than the Bhāgavata Purāa's it is assumed that the Bhāgavata Purāa was influenced by one of Bhoja's predecessors. The paper ends by reinforcing this analysis by highlighting a later tradition which had actually accepted this point of view and that is the Gauiya Vaiava tradition. (shrink)
Este ensaio vem problematizar acerca da atualidade do conceito de indústria cultural ( Kulturindustrie ), no projeto da teoria crítica de Theodor W. Adorno, objetivando mostrar que as atuais limitações impostas ao debate derivam mais do fundamento não-dialético dos que apontam sua restrição do que da própria potência da teorização frankfurtiana.
In an earlier article (see J Gen Philos Sei (2010) 41: 341-355) I have compared Aristotle's syllogistic with Kant's theory of "pure ratiocination". "Ratiocinia pura" („reine Vernunftschlüsse") is Kant's designation for assertoric syllogisms Aristotle has called 'perfect'. In Kant's view they differ from non-pure ratiocinia precisely in that their validity rests only on the validity of the Dictum de omni et nullo (which, however, in Kant's view can be further reduced to more fundamental principles) whereas the validity of non-pure ratiocinia (...) additionally presupposes the validity of inferences which Kant calls consequentiae immediatae. I have argued that Kant's view is in some (not in all) essential features in accordance with Aristotle's view concerning perfect syllogisms and certainly leading to a tenable and interesting logical theory. As a result I have rejected not only the interpretation of Aristotle adopted by Theodor Ebert, but also the objections he has raised against Kant's logical theory. As far as Aristotle is concerned, Ebert has attempted to defend his position in the first part of his reply to my article published in J Gen Philos Sei (2009) 40: 357-365, and I have argued against this defence in issue 1 of the J Gen Philos Sei (2010) 41: 199-213 (cf. Ebert's answer in the same issue pp. 215-231). In the following discussion I deal with Eberts defence of his criticism of Kant published in the second part of his reply to my article (see J Gen Philos Sei (2009) 40: 365-372). I shall argue, that Kant's principle 'nota notae est nota rei ipsius' and his use of technical vocabulary stand up to the objections raised by Ebert. His attempts to prove that Kant's logical theory is defective are based on several misinterpretations. (shrink)
Gustav Theodor Fechner was one of the outstanding German scientists and thinkers. He is well known as eminent founder of a new science Psychophysics âthe quantitative study of the relations between physical stimuli and sensations. But it seems that first idea and first solutions of this new science are not the result of hard experimental work but rather of metaphysical speculations. So we found for the first time the important Fundamentalformel in thephilosophical book Zend-Avesta , written by Fechner already (...) in 1851. Therefore this formula may not be the result of hislater experimental efforts, put down in writing in the important Elemente der Psychophysik (1860). In the present paper it was intended to retrace the so called indefinite train of thoughts (Fechner) that leaded him to his strictly mathematical formula. (shrink)
L’industrie de la culture qui est apparue en parallèle avec l’affaiblissement du dipôle travail social – art contemporain, a en même temps affaibli la possibilité des avant‐gardes de constituer une activité purement intellectuelle et artistique. C’est clair que l’apparition de cette culture de masse vient se lier avec l’évincement de l’art moderne authentique et la disparition quasi-totale de la culture populaire. Je pense que c’est indispensable de mentionner les points de vue des philosophes allemands, Theodor Adorno et Walter Benjamin (...) car je considère que malgré leurs limites historiques, ils exercent une influence déterminante sur la pensée contemporaine qui se relate à l’art dans le cadre de la société moderne postindustrielle. (shrink)
Instead of an overture : no heirs -- The house in Schöne Aussicht : a Frankfurt childhood around 1910 -- From Teddie Wiesengrund to Dr. Wiesengrund-Adorno -- Adorno as "non-identical" man -- Transitions -- Bertolt Brecht : "to those who come after us" -- Theodor W. Adorno : "out of the firing-line" -- Hanns Eisler, the non-identical brother -- Fritz Lang, the American friend -- Frankfurt transfer -- Adorno as "identical" man -- The palimpsest of life.
Theodor W.Adorno was one of the towering intellectuals of the twentieth century. His contributions cover such a myriad of fields, including the sociology of culture, social theory, the philosophy of music, ethics, art and aesthetics, film, ideology, the critique of modernity and musical composition, that it is difficult to assimilate the sheer range and profundity of his achievement. His celebrated friendship with Walter Benjamin has produced some of the most moving and insightful correspondence on the origins and objects of (...) the Frankfurt School of Critical Theory. This unprecedented collection, devised and assembled by one of Europe's rising social theorists, distills the best from published assessments and responses to Adorno's oeuvre. The collection is divided into 4 volumes: Volume 1: Philosophy, Ethics and Critical Theory Part 1: Negative Dialectics Included here are contributions on the concept of totality in the writings of Adorno and Lukacs; Adorno and Bourgeois Philosophy; the relationship between Adorno and Kierkegaard; Adorno's Critique of Idealism; Adorno and Linguistics; Adono and Habermas. Part 2: Ethics and Redemption This is comprised of contributions on Adorno and Truth; Adorno's Inverse Theology; and Adorno and the Ineffable Part 3: Critical Theory, Ideology Critique and Social Science Included here are contributions on Adorno's relation to the Positivist Dispute; the Popper-Adorno Controversy; Adorno and Empirical Research; and Hermeneutics and Critical Theory. Volume 2: Aesthetic Theory Part 1: Art and Politics in 'Aesthetic Theory' This includes material on the De-Aestheticization of Art; Adorno, Utopia and Mimesis; Adorno and autonomous art; Adorno and Dialectics; Adorno, Marxism and Art; Art and Criticism in Adorno's Aesthetics; Adorno's concept of the Avant-Garde. Part 2: Philosophy of Music This includes contributions on Adorno's music and social criticism; Adorno and nostalgia; Adorno, Heidegger and the meaning of music; Adorno and Wagner. Part 3: On Jazz The material included here addresses questions of Adorno and Popular Music; Adorno's encounter with jazz; Adorno, Jazz and Society; and the reasons for Adorno's apparent hatred of jazz. Volume 3: Social Theory & The Critique of Modernity Part 1: On 'The Dialectic of Enlightenment' Included here are chapters on the dialectic of enlightenment and post-functionalist thought; dialectic of enlightenment as genealogy critique; the relationship between the dialectic of enlightenment, modernity and postmodernity; Adorno's critique of progress; Adorno and theories of subjectivity; and the dialectic of enlightenment and rationality. Part 2: Anti-Semitism This consists of material on Adorno and Horkheimer; and Adorno and Public Sphere Part 3: Popular Culture and Capitalism Included here are contributions on Adorno and Sport; Adorno's alleged left-wing elitism; Adorno's critique of astrology and the Occult; Benjamin and Adorno on Disney; Adorno, Totalitarianism and the Welfare State; and Adorno and Mass Society. Volume 4: Cultural Theory and the Postmodern Challenge Part 1: 'Damaged Life': Exile in America This section includes Leo Lowenthal's insightful recollections of Adorno; Adorno and the primal history of subjectivity; Adorno and Los Angeles; Adorno's relation to American culture; and Adorno's exile in England. Part 2: Film Theory This section includes chapters on Adorno and the Culture Industry; Benjamin, Adorno and Contemporary Film Theory; Adorno, Aesthetics and the Social. Part 3: Wellmer and Adorno Included here are papers on Aesthetic, Psychic and Social Synthesis in Adorno and Wellmer; and New German Aesthetic Theory after Adorno. Part 4: Jameson on Adorno Included here are papers on Jameson, Adorno and the persistence of the Utopian; and a Marxism for Postmodernism Part 5: Modernism and Postmodernism This section contains papers on Adorno, Foucault and the Modern Intellectual; Adorno, Foucault and Two forms of the Critique of Modernity; Adorno and the Habermas-Lyotard Debate; Adorno, Postmodernism and Edward Said; Adorno, Heidegger and Postmodernism; Adorno and the Decline of the Modern Age; The literary process of modernism; Adorno, Tradition and the Postmodern Part 5: The Feminist Response Included here are contributions on Adorno and Judith Butler; Adorno, Art Theory and Feminist Practice; and Gender in the writings of Adorno and Horkheimer. The collection comes with a superb Introduction to Adorno by Gerard Delanty which elucidates the main contributions of this penetrating and enduring thinker. Comprehensive and consistently illuminating, the collection includes the thought on Adorno from some of the most distinguished commentators on social theory. Included here are selections from the writings of Susan Buck-Morss, Martin Jay, Agnes Heller; David Frisby; Johann Arnason; Richard Wolin; Andrew Bowie; Robert Hulnot-Kentor; Leo Lowenthal; Richard Rorty Axel Honneth; Albrecht Wellmer; and Jurgen Habermas. The result is a peerless research resource allowing readers to delve into all aspects of Adorno's extraordinary accomplishments in social thought, philosophy and cultural criticism. It will be required reading for students of the Frankfurt School, Marxism, Critical Theory, Philosophy of Art and Aesthetics and Social Theory. (shrink)
Procura-se destacar aqui, a partir da relação de mútua dependência entre o concreto e o especulativo em Theodor Adorno, algumas características próprias de sua exposição filosófica. A recusa de definições, a busca de constelações, a construção de “modelos críticos” tornam-se mais inteligíveis quando examinadas à luz da relação entre os conceitos e o não-conceitual. Pretende-se assim esclarecer melhor a relação entre verdade e história no pensamento de Adorno.
O presente artigo pretende refletir, a partir de contribuições de Theodor W. Adorno, sobre aspectos da formação objetiva do sujeito. Isso é feito por meio da apropriação de conceitos como autoconservação, autocrítica e crítica imanente. Tomamos como exemplo parte do projeto de à la recherche du temps perdu de Marcel Proust, nomeadamente, Un amour de Swann . A análise do processo de formação de Swann permite observar nexos e tensões que o sujeito elabora com o mundo objetivo. A ação (...) do Swann incorpora na sua relação co m o mundo objetivo os processos próprios da Obra de Arte autêntica para empreender a crítica necessária ao contexto social em que está inserido. Crítica esta, também, voltada a si próprio. (shrink)
Resumo : O objetivo do texto é abordar a temática dos meios de comunicação como instrumento de poder à luz da indústria cultural conforme Theodor Adorno. Busca-se responder à seguinte questão: como a indústria cultural reproduz as relações de poder no capitalismo contemporâneo? Para a consecução de tal objetivo, o texto apresenta as seguintes etapas: uma breve contextualização histórica e teórica da Teoria Crítica - vertente filosófica à qual Adorno e outros autores se filiaram - a definição da indústria (...) cultural conforme Adorno em seus principais argumentos, os efeitos da indústria cultural e do capitalismo organizado, a postura crítica frente ao contexto referido e a nova postura de Adorno nos anos 50 e 60 frente aos meios de comunicação. A principal tese do artigo leva ao entendimento de que a indústria cultural incorpora toda uma racionalidade de dominação e disciplina da vida social e reprodução da ordem capitalista vigente, acabando com as contradições no âmbito das manifestações artísticas na medida em que somente o lucro é visado. Summary : The aim of this text is discuss communication means as power instrument in the light of culture industry according to Theodor Adorno. There is a main question which the article seeks an answer: how does culture industry reproduce power relations in contemporary capitalism? In order to concretize this aim, this text presents the following parts: a brief historical and theoretical contextualization of Critical Theory - Adorno and other authors' philosophical current - culture industry concept according to Adorno, culture industry and organized capitalism effects, critical position on this context and Adrono's new posture in the fifties and sixties on communication means. The article's main thesis points to evaluation of culture industry1s rationality of domination and discipline of social life and reproducing of actual capitalist order. This leads to the end of contradictions in art, considering that profit is the only aim. Keywords : Culture Industry, Communication, Power. (shrink)
Perhaps the gist of Theodor Adorno and Max Horkheimer's grand theory of modernity, Dialectic of Enlightenment (1944), can be summed up as follows: there is no progress without regression. The chapter most forcefully informed by their experiences in Southern California is called “The Culture Industry,” and it “shows the regression of enlightenment to ideology which is graphically expressed in film and radio.”1 This article seeks to contribute a fuller understanding of the term “regression” by placing it in the biographical (...) context of Adorno's friendship with film director and fellow Los Angelino, Fritz Lang. I will discuss three interrelated aspects: “regression”…. (shrink)
Während die bisherige Forschung überwiegend auf Rekonstruktion und Analyse des philosophischen und pädagogischen Werkes von Theodor Litt bezogen war, konzentrieren sich gegenwärtige Untersuchungen bedingt durch die Zunahme von ...
Both Walter Benjamin and Theodor W. Adorno consider ‘aesthetical experience’ as an “image experience” assuming a power of images “to set free forces” directed to produce or support aesthetical-political (Benjamin) or aesthetical-critical (Adorno) requirements. Profane illumination, ‘thinkimages’, phantasmagory, dialectical images, decayed ‘aura’ and technicalized images in Benjamin’s theory of aesthetical modernity. Expressive feature or “mimetic” eloquence in nature and art countering reality, dismantled ‘aura’ in contemporary desacralized work of art, but also persisting ‘aura’ in its meaningful dimension in Adorno’s (...) aesthetical theory. (shrink)
This article argues that debates about the theoretical relations between Critical Theory and Existential philosophy have to date been excessively focused on the connections between Martin Heidegger and Theodor W. Adorno, and should now extend their analysis to consider points of dialogue between Adorno and Karl Jaspers. Examining the cognitive, ethical and political implications of their works, the article claims that Jaspers and Adorno have much in common and contribute in related ways to our understanding of certain important issues. (...) This is the case in their views on idealism and on the politics of humanism, but it is most evident in their reflections on the role of metaphysics in modern philosophy: both seek to salvage the contents of metaphysical thinking, and they denounce the tendency towards purely immanent or autonomist accounts of human reality in the theoretical traditions to which they belong. Their views on metaphysics are especially apparent in their interpretations of Kant, in their critiques of neo-Kantianism, and in their shared hostility to Heidegger's reaction to Kantian philosophy. (shrink)
In “Toward a Portrait of Thomas Mann,” Theodor Adorno suggests that Mann's narrative practice could be consistent with Adornian avant-garde art, because Mann's irony negates the very semblance upon which art relies: “there is no doubt that [Mann] disguised himself as a ‘public figure,’ that is, from his contemporaries, and this disguise itself needs to be understood. Not the least of the functions of Mann's irony, certainly, was to practice this disguise and at the same time negate it by (...) confessing it in language.”2 By quoting passages from Adorno's musical aesthetics within what seems to be a straightforward parable about…. (shrink)
In an earlier article (s. J Gen Philos Sci 40:341-355, 2009), I have rejected an interpretation of Aristotle's syllogistic which (since Patzig) is predominant in the literature on Aristotle, but wrong in my view. According to this interpretation, the distinguishing feature of perfect syllogisms is their being evident. Theodor Ebert has attempted to defend this interpretation by means of objections (s. J Gen Philos Sci 40:357-365, 2009) which I will try to refute in part  of the following article. (...) I want to show that (1) according to Aristotle's Prior Analytics perfect and imperfect syllogisms do not differ by their being evident, but by the reason for their being evident, (2) Aristotle uses the same words to denote proofs of the validity of perfect and imperfect syllogisms („apodeixis”, "deiknusthai" etc.), (3) accordingly, Aristotle defines perfect syllogisms not as being evident, but as "requiring nothing beyond the things taken in order to make the necessity evident", i.e. as not "requiring one or more things that are necessary because of the terms assumed, but that have not been taken among the propositions" (APr. I. 1), (4) the proofs by which the validity of perfect assertoric syllogisms can be shown according to APr. I. 4 are based on the Dictum de omni et nullo, (5) the fact that Aristotle describes these proofs only in rough outlines corresponds to the fact that his proofs of the validity of other fundamental rules are likewise produced in rough outlines, e.g. his proof of the validity of conversio simplex in APr. I. 2, which usually has been misunderstood (also by Ebert): (6) Aristotle does not prove the convertibility of E-sentences by presupposing the convertibility of I-sentences; only the reverse is true. (shrink)
Quine’s classical classic interpretation succinctly characterized characterizes Carnap’s Aufbau as an attempt “to account for the external world as a logical construct of sense-data ... .” Consequently, “Russell” was characterized as the most important influence on the Aufbau. Those times have passed. Formulating a comprehensive and balanced interpretation of the Aufbau has turned out to be a difficult task and one that must take into account several disjointed sources. My thesis is that the core of the Aufbau rested on a (...) problem that had haunted German philosophy since the end of the 19th century. In terms fashionable at the time, this problem may be expressed as the polarity between Leben and Geist that characterized German philosophy during the years of the Weimar Republic. At that time, many philosophers, including Cassirer, Rickert and Vaihinger, were engaged in overcoming this polarity. As I will show, Carnap’s Aufbau joined the ranks of these projects. This suggests that Lebensphilosophie and Rickert’s System der Philosophie (1921) (henceforth System) exerted a strong influence on Carnap’s projects, an influence that is particularly conspicuous in his unpublished manuscript Vom Chaos zur Wirklichkeit (1922). Carnap himself asserted that this manuscript could be considered “the germ of the constitution theory” of the Aufbau. Reading Chaos also reveals another strong but neglected influence on the Aufbau, namely a specific version of neutral monism put forward by the philosopher and psychologist Theodor Ziehen before World War I. Ziehen’s work contributed much to the invention of the constitutional method of quasi-analysis. -/- . (shrink)