Este libro promete ser una contribución para el estudio de la teoría crítica en general y para el análisis de la historia de la Escuela de Frankfurt en particular. Todos los trabajos que están contenidos en este volumen hacen parte del amplio marco teórico de la teoría crítica de la sociedad. Muchos siguen las huellas de los fundadores de esta tendencia, mientras que otros se presentan como críticos de la misma y unos cuantos más tratan de vincular problemas y contextos (...) de relevancia a los conceptos más destacados que se empezaron a construir hace cien años en Frankfurt. Encontramos como buena excusa para su publicación precisamente el año centenario del Instituto de Investigación Social. Además, hemos creído conveniente organizar los materiales en secciones que van desde la historia de la Escuela de Frankfurt hasta la consideración de algunos interrogantes de actualidad motivados por el desarrollo de la teoría crítica. No obstante, con esto no pretendemos establecer límites absolutos de clasificación. Confesamos que nuestra forma de organizar los ensayos responde simplemente a criterios editoriales más que a cuestiones teóricas y conceptuales. Claramente las intersecciones entre los estudios aquí presentados son amplias y hacen que cada una de las propuestas pueda dialogar con las otras en función de sus evidentes parecidos de familia. (shrink)

Adorno's philosophical writings on music are notably focused on the new, invested in positioning the challenging avant‐garde works of Schoenberg, Berg, and Webern as the modernist mainstream. Nevertheless, Adorno's relationship with this “Second Viennese School” of composers was characterized by ongoing complexities, contradictions, and dissonances. His conflicted position is theorized here on multiple levels, considering not only Adorno's mature philosophy of the New Music, but his own musical‐creative output, and his relationships with the members of the Second Viennese School; a (...) group he was intimately connected to and distinct from at once. As his composition teacher, Berg was particularly influential in shaping Adorno's compositional activity and stance as simultaneously a champion and critic of Schoenberg. Adorno attempted to apply Schoenberg's twelve‐tone technique within his own compositions, recognizing its promise, yet from early on he had growing critical and compositional reservations concerning the method's restrictions. Though Adorno's writings from the 1930s defend Schoenberg and the twelve‐tone technique, by the end of the following decade, his Philosophy of New Music (2006 [1949]) expounds his critique of the method for its eschewal of the freedom of Expressionism. The impact of the Philosophy of New Music in the wake of the Second World War was both greater than and different from what Adorno could have expected. His message that the twelve‐tone method came at the cost of expressivity was largely missed by the subsequent generation of avant‐garde composers, the “Darmstadt School,” who understood the book as philosophical and theoretical basis for their extended exploration of music's serial systematization. (shrink)

It seems natural to suppose that the burgeoning field of critical phenomenology would come to bear at least some affinities or resemblances (whether implicitly or explicitly) to critical theory, insofar as both are deeply concerned with directing a rigorous critical eye towards the most pressing political, economic, cultural, and social issues of our time. Yet critical theory has also had its share of critics of phenomenology itself, not least of which was the foremost member of the first-generation Frankfurt School critical (...) theorists, Theodor W. Adorno. Adorno’s critique of phenomenology was, for historical reasons, confined to Edmund Husserl and Martin Heidegger, and might be concisely put as follows: for Adorno, classical phenomenology is insufficiently critical towards contemporary realities of oppression and domination (an insufficiency variously attributed to an alleged pernicious idealism, solipsism, methodological individualism, descriptivism, or ahistoricism in classical phenomenology). On this count, critical phenomenologists today may very well agree—at least to the point of affirming that phenomenology’s critical potential remained largely “untapped” in its classical formulations. However, in a twist of historical fate, Adorno failed to engage with a contemporaneous phenomenologist with whom he perhaps had more in common than anyone else: Emmanuel Levinas. Levinas himself was also notably critical of Husserl and Heidegger (while of course also being enormously indebted to them), for reasons not altogether dissimilar to Adorno’s. For Levinas, phenomenology had hitherto neglected the fundamental ethical or moral dimensions of experience—in particular our ethical responsibility towards the Other in the face of the manifold evils and injustices of the world. What might Adorno have thought of Levinas’s work, and Levinas of Adorno’s? What might they have learned from one another? And how might this exchange have affected the trajectories of critical theory, phenomenology, or critical phenomenology? (shrink)

In this article we, the authors, outline the thematic concerns of our special issue of the Journal of Global Ethics . We argue for a need to engage with notions of violence from an interdisciplinary and transformative perspective. The theoretical framework that provides such a perspective is critical theory, broadly construed. Critical theory has always been concerned with the relation between practice and theory, as well as notions of violence. It is therefore surprising to note that in the current critical (...) theoretical debates a sustained engagement with the theme of violence has largely been sidelined. We argue that critical theory is not only fruitful for the study of conflict and violence, but also that such practical issues can shed and help further develop critical theory itself. (shrink)

Resumo A teoria crítica tardia de Theodor W. Adorno é considerada por muitos como quietista e resignada. O presente artigo busca questionar tal veredito por meio de uma análise tanto do diagnóstico de época, feito pelo autor, quanto da relação entre teoria e práxis delineada nas obras do período tardio do pensador frankfurtiano. Sugere-se que, em vez de resignada, a teoria crítica de Adorno está engajada seja nos processos de resistência à barbárie latente, seja nas melhorias pontuais que poderiam ser (...) conseguidas no interior da ordem vigente. Tal engajamento, no entanto, não significa um abrandamento da tese de que a possibilidade de emancipação estaria bloqueada.Theodor W. Adorno's late critical theory is often regarded as quietist and resignated. This article seeks to question this verdict through an analysis of both the diagnosis of time made by the author as of the relationship between theory and praxis outlined in Frankfurtian thinker's late works. It is suggested that instead of resigned, Adorno's critical theory is engaged either in processes of resistance to the latent barbarism, whether in specific improvements that could be achieved within the existing order. This engagement, however, does not mean a mitigation of the thesis that the possibility of emancipation would be blocked. (shrink)

This article surveys the output of contemporary Italian philosophers and distinguishes three principal ways of approaching their intellectual endeavor: denial, the “evil-queen syndrome,” and compliance. Philosophers in a state of denial seem unaware of the loss in status that Italian philosophy as an academic discipline suffers in international forums. The evil-queen syndrome concerns the habit of compiling surveys of past philosophies, focusing on traditions of which one considers oneself the privileged inheritor. Compliance—in its commendable aspect—refers to the growing number of (...) philosophers who participate in international debates, whose forums are for the most part Anglo-American peer-refereed journals. This article urges a less subservient intellectual attitude, capable of contributing new ideas and arguments to the international philosophical forum. (shrink)

Frankfurt School critical theory is perhaps the most significant theory of society to have developed directly from a research programme focused on the critique of political authoritarianism, as it manifested during the interwar decades of the 20th century. The Frankfurt School’s analysis of the persistent roots – and therefore the perennial nature – of what it describes as the ‘authoritarian personality’ remains influential in the analysis of authoritarian populism in the contemporary world, as evidenced by several recent studies. Yet the (...) tendency in these studies is to reference the final formulation of the category, as expressed in Theodor Adorno and co-thinkers’ The Authoritarian Personality, as if this were a theoretical readymade that can be unproblematically inserted into a measured assessment of the threat to democracy posed by current authoritarian trends. It is high time that the theoretical commitments and political stakes in the category of the authoritarian personality are re-evaluated, in light of the evolution of the Frankfurt School. In this paper, I review the classical theories of the authoritarian personality, arguing that two quite different versions of the theory – one characterological, the other psychodynamic – can be extracted from Frankfurt School research. (shrink)

Theodor Adorno has often been portrayed as the prototypical example of the permanent exile, even though, after living fifteen years in Britain and the US, he returned to Germany in 1949 and spent the last twenty years of his life there. This article traces Adorno’s reflections on his homecoming and analyses how his experiences of exile and return shaped his mature thought. Conceiving homecoming not simply as a return to one’s origins but as a continuation of a radical experience of (...) the foreign, it builds on the remarkable continuity of Adorno’s theory of intellectual experience over time. The article also explores homecoming in relation to Adorno’s thought on language and translation, an aspect that has been little studied in the existing literature, both in terms of the articulation of a philosophy of language where the foreign plays an important role, and in terms of how language and translation were directly connected with Adorno’s return. (shrink)

Art’s Way Out invites readers to examine how what we call “art” enters a conditioned relationship with the polity that leaves the occasion of education and the condition of culture in a quandary that is at best inept and at worse oppressive. There are two reasons for this: because any relationship between art and education is aporetic by dint of how they have emerged in between their respective autonomous and heteronomous forms of being and knowing; and because in the volatility (...) of representation, any cultural and educational conditioning is bound to vacillate between the same teleological states by which expressions of a political objective find themselves bookended by fascism .This is often overlooked by the constructivist expectations that are commonly invested in art and education. Moreover, any crossing of art with philosophy is bound to fall foul of the excessive desires that we project on them. This has nothing to do w .. (shrink)

The aim of this study is to discern intersections between the intellectual path of the young Habermas and the issues addressed by the Positivismusstreit, the dispute between Popper and Adorno about methodology in the social sciences. I will present two perspectives, focusing on different temporal moments and interpretative problems. First, I will investigate the young Habermas’ relationship to the intellectual tradition of the Frankfurt School: his views on philosophy and the social sciences, normative bases of critical theory and political attitudes. (...) Second, I will reconstruct Habermas’ contemplation of the Positivismusstreit, in light of his social scientific research programme in the 1960s. The thesis supported is that Habermas developed a position diverging from those of Adorno and Horkheimer, and that his position reasserted the agenda of the ‘first critical theory’. This article highlight the discontinuity between the first and the second generation of the Frankfurt School, the constructive openness to other philosophical and sociological traditions, as well as the aporias of a theory of knowledge not yet oriented towards the programme of reconstructive sciences. (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)

Ron Eyerman is one of the authors of the cultural theory trauma with an introduction by Jeffrey Alexander. This text may be seen as a case-study, that underlines and illuminates some of the main features of their theory. Using the examples of three significant social theory texts, Horkheimer and Adorno’s “Dialectic of Enlightenment”, Freud’s “Moses and Monotheism” and Bauman’s “Modernity and the Holocaust”, this article illustrates the difference between personal, collective and cultural trauma. All of those texts are connected to (...) the same event – the Holocaust – and the outcome of this event. Bauman and Adorno could have become the victims, but instead survived bearing the trauma, conceptualizing it and thus becoming predecessors of the cultural trauma theory. Ron Eyerman shows the complexity of the relationship between personal and collective trauma, and the construction of social theory. In analyzing these texts he goes into history of their creation, finding evidence of the traumatic experience of the authors. He also analyzes aesthetic characteristics of the texts, showing theese texts as not only pieces of social theorizing but also as personal experiences, trying to find meaning in gaps, voids and inconsistency. The aim is also to illustrate how personal trauma can impact the construction and representation of social theory. (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)