This contribution investigates the intimate relation and the tension between legal and literary procedures of personification and subjectivation. In order to do so, the contribution turns to Kafka’s The Trial and examines the proximity of the juridical procedure depicted in the novel, intending to establish Josef K. as a subject, to the narrative procedures of the novel itself that aims at bringing forth an accountable protagonist. The intimate relation of the legal procedures described in the novel and the narrative ones (...) of the novel itself is rooted in a shared historical heritage that impacts both. I argue that the fundamental configuration of advocacy in the classical rhetorical procedure: speaking for someone, against someone, in front of an other, lies at the basis of both legal and literary procedures. Against this common rhetorical background I investigate developments in legal procedures and the formation of the modern novel in the nineteenth and early twentieth century. Both developments occlude the rhetorical mechanisms of speaking-for and speaking against and turn the rhetorical procedures of personification into mechanisms of subjectivation. Kafka’s Proceß reflects these developments, yet does not affirm this transformation and ultimately does not result in a guilty subject and a ‘believable’ character. Rather, the novel embodies a gesture of resistance against certain modes of subjectivation that seem to be prevalent both in modern law and in the novel of formation. (shrink)

The approach is by a winding road about nine miles long, boldly cut out of the rock … the road comes to an end in front of a long underground passage leading into the mountain, enclosed by a heavy double door of bronze. At the far end of the underground passage a wide lift, panelled with sheets of copper, awaits the visitor. Through a vertical shaft of 330 feet cut right through the rock, it rises up to the level of (...) the Chancellor's [Hider's] dwelling place. Here is reached the astonishing climax. The visitor finds himself in a strong and massive building containing a gallery with Roman pillars, an immense circular hall with windows all around … It gives the impression of being suspended in space … The whole, bathed in the twilight of the autumn evening is grandiose, wild, almost hallucinating. The visitor wonders whether he is awake or dreaming. (shrink)

In this paper I will argue that critical theory needs to make its socio-ontological commitments explicit, whilst on the other hand I will posit that contemporary social ontology needs to amend its formalistic approach by embodying a critical theory perspective. In the first part of my paper I will discuss how the question was posed in Horkheimer’s essays of the 1930s, which leave open two options: (1) a constructive inclusion of social ontology within social philosophy, or else (2) a program (...) of social philosophy that excludes social ontology. Option (2) corresponds to Adorno’s position, which I argue is forced to recur to a hidden social ontology. Following option (1), I first develop a metacritical analysis of Searle, arguing that his social ontology presupposes a notion of 'recognition' which it cannot account for. Furthermore, by means of a critical reading of Honneth, I argue that critical theory could incorporate a socioontological approach, giving value to the constitutive socio-ontological role of recognition and to the socio-ontological role of objectification. I will finish with a proposal for a socio-ontological characterization of reification which involves that the basic occurrence of recognition is to be grasped at the level of background practices. (shrink)

Dewey’s notion of second nature is strictly connected with that of habit. I reconstruct the Hegelian heritage of this model and argue that habit qua second nature is understood by Dewey as a something which encompasses both the subjective and the objective dimension – individual dispositions and features of the objective natural and social environment.. Secondly, the notion of habit qua second nature is used by Dewey both in a descriptive and in a critical sense and is as such a (...) dialectical concept which connects ‘impulse’ and ‘habit’, ‘original’ or ‘native’ and ‘acquired’ nature, ‘first’ and ‘second nature’. Thirdly, the ethical model of second nature as habituation and the aesthetic model of second nature as art are for Dewey not opposed to one another, since by distinguishing ‘routine’ and ‘art’ as two modes of habit, he makes space for an expressive and creative notion of second nature. Finally, I argue that the expressive dialectics of habit formation plays a crucial role in Dewey’s critical social philosophy and that first and second nature operate as benchmark concepts for his diagnosis of social pathologies. (shrink)

The interest of this paper is to discover the precondition of experience. It is suggested that Walter Benjamin's meditations on Proust, as well as on the origin of the novel, lead to the verge of that discovery. A la recherche du temps perdu is less a monumental work of fiction in this view than the limit of experience – the intransmissible fact of the transience of the present – made manifest in writing. While in Proust transience gives way to its (...) recuperation as image, Thomas Bernhard's post-Proustian masterpiece Extinction mobilizes the present's destructive potential with compelling effect, and turns it upon the work of historical experience itself. (shrink)

This article attempts two things. First, it aims to reassess the literary criticism that Georg Lukács produced in the 1930s while he was living in the Soviet Union in light of his earlier, and much-esteemed, The theory of the novel. Second, in order to carry out this reassessment, it examines the place of Hegelian aesthetics in Lukács’s theorization of realism in the 1930s criticism, in relation both to contemporary Soviet writings on the subject and to his own earlier, ostensibly Hegelian (...) work. I argue that, at least in terms of the place of art in the historical dialectic, the later work is more consistent with Hegelian philosophy than The theory of the novel. (shrink)

The conceptual and methodological contributions of Marxist aesthetics from Eastern European countries like Hungary, Yugoslavia, Poland, Czechoslovakia, Bulgaria, Romania, and East Germany were productive and significant despite various hurdles faced concerning institutionalization, legitimization and differing theoretical abuses. In its mode of inquiry and discursive practices, Eastern European Marxist aesthetics is both similar and dissimilar to its Western, Soviet, Russian and Chinese counterparts. The specificity here is the function of a unique geographical and socio-historical context, as well as interaction with other (...) contemporary paradigms of thought. The innovative impulses of Eastern European Marxist aesthetics affected six scholarly domains: aesthetics of praxis, theory of realism, critique of modernity, semiotics, theory of genre and cultural theory. This paper provides a general survey of the intellectual achievements of Eastern European Marxist aesthetics across these six domains and will show how this theoretical tradition has influenced the modern history of ideas. (shrink)

I reconstruct Lukács’s immanent critique of German Idealism, found within his essay ‘Reification and the Consciousness of the Proletariat’, in order to foreground his philosophical reflection on the concepts of mediation, logic, genesis and praxis. I situate this reflection within his philosophy of praxis as a whole before highlighting the dialectical development of these terms within it. They are posited initially as abstract, methodological demands and are subsequently concretised and enriched, via Lukács’s critical evaluation of the antinomies he discovers in (...) Kant, Fichte, Schelling and Hegel. My reconstruction is both exegetical and critical. I demonstrate that Lukács’s concept of praxis is explicitly intended to both bear the weight of Hegel’s Absolute and overcome it. On this basis, I propose a novel immanent critique of Lukács’s philosophy of praxis, suggesting that while Lukács wishes his concept of praxis to express a living, present and ontologically novel truth, his insight is won – in the fashion of Hegelian philosophy – after the historical event upon which it is built, as a philosophical reflection. Lukács’s self-contradiction is that while he regards his philosophy of praxis as having overcome speculative, Hegelian philosophy, in fact, the position he generates remains firmly but unconsciously within it. Consequently, Lukács’s philosophy of praxis possesses a theological dimension and must be regarded as an example of the kind of ‘conceptual mythology’ he sought to overcome. (shrink)

In this paper, the author maps three radically different visions of Marxism in educational philosophy. Each ‘register’ contains insights but also contradictions that cannot easily be resolved through internal modifications of the theory or through theoretical synthesis with other registers. The radical function of Marxist pedagogy is to create a constellation of Marxisms through which the outline of history can emerge. As such, the author ends with a new emphasis in Marxist education on the ‘exacting imagination’ of the teacher which (...) creates a constellational image of concepts and theories all of which hang in a precarious and historically specific configuration. (shrink)

The main idea behind this article is that in order to understand the meaning that Kant?s political philosophy is rendered to by the given socio-historical context of a community we need to turn for help to artistic genius whose subjective?I? holds a general feeling of the world and life. It is in this sense that authors of great novels can help us in two ways. First, their works summarise for our imagination artistic truth about man?s capacity for humanity, the very (...) thing that Kant considers to be the scientifically improvable?fact of reason?. Second, works of great writers offer for our insight destinies of individuals who decide to pursue moral dictate in a society, thus actualising the potential that lies hidden in all of us, making us worthy of respect. As we lack objective scientific standard of measurement, artist?s universal feeling of the world is impressed upon us through a narrative about a man who, in a given society and in a given moment, decides to exercise his autonomy and seek the divine in himself. Contemporary social scientists? attempts to prove historical progress is characterised by the very lack of humbleness. Referring to the great novelists? works in this article is aimed to remind scientists of restraint and self-control demanded from them by the citizen of Konigsberg. nema. (shrink)

Tolstoy was a frame of reference in the work of Lukács twice, during 1914–16 and 1935–6 respectively. His first-time encounter with Tolstoy was presented in the chapter of The Theory of the Novel involving both Dostoevsky and Tolstoy, but the former was given more credit and reckoned as the prophet of a new world. It was not until the 1930s that Lukács’ taste changed, and his top priority went to Tolstoy instead. Yet, with due respect to the vicissitudes of his (...) life throughout the 1910s until the 1930s, Lukács remained faithful to his philosophy of history in terms of aesthetic judgment. His preference for the grand artworks was not new as his admiration for Homer showed, but his belief in the resurrection of grand art as realism was rooted in a new and false illusion. Still, his essays on Tolstoy of the 1930s are rich in aesthetic analysis, such as the different aspects of temporality. (shrink)

The relationship of Marxist thought to the phenomena of everyday life and utopia, both separately and in terms of their intersection, is a complex and often ambiguous one. In this article, I seek to trace some of the theoretical filiations of a critical Marxist approach to their convergence (as stemming mainly from a Central European tradition), in order to tease out some of the more significant ambivalences and semantic shifts involved in its theorization. This lineage originates in the work of (...) Karl Marx and Friedrich Engels, then stretches to Georg Lukács and the so-called ‘Gnostic Marxism’ of Walter Benjamin (as mediated by the important figure of Georg Simmel), and culminating most recently in the work of Agnes Heller. Such a Marxist theory is inseparable from a political project that seeks to unveil and critique what it takes to be the debased, routinized and ideological qualities of daily existence under the auspices of modern capitalist society, but also attempts to locate certain emancipatory tendencies within this selfsame terrain, an orientation that can be summed up in the phrase ‘everyday utopianism’. Although there are occasional lapses into dualistic modes of thinking in the work of these writers, the key insight they present to us is the need to overcome the pervasive dichotomy between the everyday/immanent and the utopian/transcendental, of a sort that has bedevilled the work of many other theorists and intellectual traditions. (shrink)

Throughout the world, Eastern European critical theory is enjoying a moderate, yet exciting, resurgence. From its oppositional roots in praxis philosophy and critical sociology, this diffuse and dynamic tradition has expanded its field of concern to encompass, among other problems, the aporias of democracy, the Holocaust and legacies of totalitarianism, the vicissitudes of modern culture and the ethical imperatives of living after the grand narrative. In the process, Eastern European thought has come to figure as a vital alternative to the (...) dominant tendencies emanating from Frankfurt and Paris. This essay surveys and introduces a collection of papers delivered at The International Conference of Marxist Critical Theory in Eastern Europe held in Chengdu, P.R.C., in November 2018. It both highlights the thematic range of contemporary scholarship on Eastern European critical theory and signals potential directions in future research. (shrink)

In this paper I reconstruct the central concept of the young Lukács’s and Mannheim’s sociology of knowledge, as they present it in their writings in the early decades of the twentieth century. I argue that this concept, namely Weltanschauung, is used to refer to some conceptually unstructured totality of feelings, which they take to be a condition of possibility of intellectual production, and this understanding is contrasted to an alternative construal of the term that presents it as logically structured, quasi-theoretical (...) background knowledge. This concept has Kantian reminiscences: it is a condition of possibility of intellectual production in general. The young Mannheim and Lukács rely on 'Weltanschauung' so understood as a phenomenon mediating between the facts of society and individual intellectual production and reception: it is seen as being conditioned by sociological facts and therefore as a historical and sociological category through which, and therefore indirectly, society enters into intellectual production. (shrink)

ABSTRACTWhile Hegel’s concept of second nature has now received substantial attention from commentators, relatively little has been said about the place of this concept in the Phenomenology of Spirit. This neglect is understandable, since Hegel does not explicitly use the phrase ‘second nature’ in this text. Nonetheless, several closely related phrases reveal the centrality of this concept to the Phenomenology’s structure. In this paper, I develop new interpretations of the figures ‘natural consciousness’, ‘natural notion’, and ‘inorganic nature’, in order to (...) elucidate the distinctive concept of second nature at work in the Phenomenology. I will argue that this concept of second nature supplements the ‘official’ version, developed in the Encyclopedia, with an ‘unofficial’ version that prefigures its use in critical theory. At the same time, this reconstruction will allow us to see how the Phenomenology essentially documents spirit’s acquisition of a ‘second nature’. (shrink)

Intersubjectivity is a key concept in phenomenology as well as in psychology and especially in psychotherapy, given the reliance of the therapeutic process on its location in relationship. While psychotherapy encompasses a range of what Owen terms “talking therapies”, this paper focuses mainly on the Freudian model of psychoanalysis and its connection with Husserlian and Heideggerian phenomenology respectively. Freud’s recognition that symptoms have meaning, and that the methodical disclosing of their meaning needs to be guided by the experience of the (...) patient, accords with the emphasis of phenomenology on empathic attunement to the lived experience of the other. Insofar as the orientation of psychoanalysis towards methodically disclosing meaning gives it a hermeneutic dimension, it is also compatible methodologically with the interpretative mode of phenomenology. While Karlsson identifies seven centrally significant “points of connection” between psychoanalysis and phenomenology, Thompson suggests that “psychoanalysis is already phenomenological in its latency …. Indeed, Freud’s principles of technique make little sense outside a phenomenological context”.Can it thus be claimed that, in the quest for intersubjectivity, sufficient common ground exists for meaningful dialogue between psychotherapy, psychoanalysis and phenomenology in general, and between Sigmund Freud, Edmund Husserl and Martin Heidegger in particular? That is what this paper seeks to explore.The paper proceeds from pointing to the ambiguity of the Freudian mode as simultaneously natural scientific and hermeneutic to exploring the fundamental points of difference and commonality between psychoanalysis and phenomenology, and in particular the significance of the role of the unconscious and intentionality in psychoanalysis and phenomenology respectively, as well as the orientation of both towards greater understanding of one’s being in the world. Ultimately, however, the authors conclude that, while the points of commonality would seem conducive to dialogue between the Freudian and the phenomenological in the psychotherapeutic domain, their differences in aims and approach, each shaped by a different view of humankind, continue to obstruct it. The quest for it nevertheless remains ongoing, as demonstrated not only by the academic endeavours of theoreticians such as Owen and Karlsson, but by the contemporary urge of second century psychoanalysis for a theoretically coherent turn away from the Cartesian and towards the authentically intersubjectively relational. (shrink)

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)

György Lukács’s Marxist phase is usually associated with his passage from neo-Kantianism to Hegelianism. Nonetheless, Nietzschean influences have been covertly present in Lukács’s philosophical development, particularly in his uncompromising distaste for the bourgeois society and the mediocrity of its quotidian values. A closer glance at Lukács’s corpus discloses that the influence of Nietzsche has been eclipsed by the Hegelian turn in his thought. Lukács hardly ever mentions the weight of Nietzsche on his early thinking, an influence that makes cameo appearances (...) throughout his lifetime writings. During the period of his adherence to a Stalinist approach to communism, his new subjectivity seems to be re-constituted through a disavowal of his earlier romantic anti-capitalism. Implicit in Lukács’s attack on Nietzsche in the Destruction of Reason (1952) is an acerbic reaction to the mute presence of the latter in his earlier thought. Apart from his ignorance of the unreliability of the collection of the Will to Power edited by Peter Gast and Elisabeth Förster-Nietzsche, his battle against the anti-proletariat Nietzsche in the Destruction is waged on a metaphysical, non-historical plain. Lukács’s pre-Marxist works (Soul and Form, On Poverty of Spirit, and The Theory of the Novel) in a sense betray the instance of a writer who writes most of someone where he omits his name. Thus perceived, Lukács’s early corpus lends itself to a symptomatic reading. -/- This essay seeks to extract the Nietzschean undercurrents of Lukács’s work through a reflection on the romantic anti-capitalist tendencies that the young Lukács shared with Nietzsche. For although it may appear that Nietzsche lacked a clear politics, his criticism of the bourgeois ethos as a structure based on debt/guilt [Schuld], and his critique of modern value-system and nihilism paved the way for the emergence of Lukács’s theory of reification. Nietzsche’s category of 'transvaluation of values’ suggests a total transfiguration of reality, a radical rupture with the ordinary state of things, and as such carries within itself a revolutionary promise. Drawing a distinction between political romanticism and romantic politics, I argue that romantic anti-capitalism contains a potential for the latter. The essay further traces the link between Lukács’s ‘romantic politics’ and the persistence of a thought of the tragic (a ‘tragic vision’) in his texts that, despite its temporary decline during his realist period, is undismissable in different constellations of his thought. (shrink)

The aim of the paper is to investigate the connection between the Frankfurt School and the events of 1968. Accordingly, the paper focuses only on those important members of the School whose philosophical, ideological or practical influence on the events is clearly detectable. This means dealing with four thinkers in three sections: the influence of Adorno and Horkheimer is treated in the same section, whereas the work of Marcuse and Habermas is examined in separate sections. The three sections represent three (...) different approaches. Adorno and Horkheimer are passive onlookers of the events their passivity being rooted in their skeptical philosophical thinking. The initially also passive and pessimist Marcuse slowly rises to the role of the ’prophet’ of the students. And the early Habermas’ critical analysis paves the way for his initially pessimist, but later more optimistic reformist attitude. The paper is structured accordingly: after introductory thoughts, the mentioned thinkers are treated in separate sections that contain historo-philosophical analysis of their relevant works. (shrink)