ABSTRACT This article articulates the idea of a disclosing critique of society. It starts from the assumption that the curiously organicistic undertones of Adorno’s negative social ontology is part and parcel of a disclosing gesture in his social criticism. It then traces Adorno’s debate with social organicists to the point where the critical theorist’s own concept of society emerges with a claim to be critical in itself. It is argued that this critical claim is enforced by a disclosing gesture. To (...) articulate what is at stake in this gesture of critical disclosure a parallel is drawn, and contrast made, to Emerson’s conception of disclosure as “drawing a circle around a circle”. The relationship between Adorno’s and Emerson’s conceptions of critical disclosure is complex. However, their juxtaposition allows for a distinction between two directions of critical disclosure. It will be argued that disclosing critique of society can be understood as an exemplary dissociation from alienated society by means of a creative association of empirical knowledge, poetic description and philosophical speculation by a critic standing, as it were, with one foot inside and the other outside our form of life. (shrink)

It is generally recognized that Adorno and Levinas should both be read as urging a rethinking of ethics in light of Auschwitz. This demand should be understood in terms of the acknowledgement of transcendence. A phenomenological account of the event of Auschwitz developed by Todes motivates my use of Cavell’s distinction between acknowledgement and knowledge. Both Levinas and Adorno argue that an ethically adequate acknowledgement of transcendence requires that the traditional concept of transcendence as represented in theodicy must be rejected. (...) This rejection takes the form of a rejection of theodicy (Levinas) and a negative theodicy (Adorno). I argue that Adorno’s response is superior because it is a response to the specificity and particularity of the event of Auschwitz as the destruction of, rather than merely the denial of, the humanity of both perpetrators and victims. (shrink)

This article explores the relationship between ethics and metaphysics in critical theory through immanent criticism of Fabian Freyenhagen's reconstruction of Adorno. Endorsing Freyenhagen's overall defence of Adorno's position, it argues that several important features of Adorno's position as Freyenhagen interprets it can be made intelligible only on broadly Aristotelian metaphysical presuppositions. These should be thematized explicitly rather than ignored. Moreover, these metaphysical presuppositions are on independent grounds plausible, as recent Aristotelian and critical realist work has indicated, and special difficulties arising (...) for them in the context of a radical negative critical theory can probably be overcome. Further conversation between critical theorists, Aristotelians and critical realists should prove fruitful in elaborating and defending a radical critical theory alternative to the dominant postmetaphysical paradigm. Progress in this direction, though, will entail rejecting the basic postmetaphysical premise that critical theory must proceed in a metaphysically neutral way. (shrink)

Some 60 years separate us from Theodor W. Adorno’s “Theory of pseudo-culture.” Yet Adorno’s analysis might never have been as pertinent and as compelling as it is in the present moment. The dawn of the “post-truth” era, and the persistent impact of the culture industry on human sensibility and capacity for critical self-reflection, call for a return to Adorno’s critical theorisation of pseudo-culture. This paper revisits Adorno’s assessment of pseudo-culture and proposes a reconstruction of some of his most compelling arguments (...) on the subject in light of the present socio-historical circumstances. The paper starts with a concise discussion of the notions of Kultur, Bildung and Halbbildung in relation to Adorno’s thought. It then discusses the effects of pseudo-culture on human experience by looking into the role of opinions—in particular, what Adorno terms “delusional” opinions—in contemporary late capitalist reality. Finally, the paper ends with a juxtaposition of the barbarism of the banal and neoteric barbarism. I argue that, whereas the former stuns culture and impels it to regress to a state of pseudo-culture, the latter gives it new impetus by opening up new theoretical and practical paths. (shrink)

‘Immanent criticism' has been discussed by philosophers of quite different persuasions, working in separate areas and in different traditions of philosophy. Almost all of them agree on roughly the same story about its origins: It is that Hegel invented immanent criticism, that Marx later developed it, and that the various members of the Frankfurt School, particularly Adorno, refined it in various ways, and that they are all paradigmatic practitioners of immanent criticism. I call this the Continuity Thesis. There are four (...) different claims that interest me. Hegel is the originator of immanent criticism. Hegel's dialectical method is that of immanent criticism. Adorno practises immanent criticism and endorses the term as a description of his practice. Adorno's dialectical method is fundamentally Hegelian. In this article, I offer an account of immanent criticism, on the basis of which, I evaluate these four claims and argue that the Continuity Thesis should be rejected. (shrink)

This article considers Theodor W. Adorno’s thesis of the ‘liquidation of the individual’ as a contribution to the critique of political economy insofar as it links structural economic imperatives o...

This paper re-examines the relationship between power, reason and history in Horkheimer and Adorno’s "Dialectic of Enlightenment." Contesting Habermas’ highly influential reading of the text, I argue that "Dialectic of Enlightenment," far from being a dead-end for critical theory, opens up important lines of thought in the philosophy of history that contemporary critical theorists would do well to recover. My focus is on the relationship that Horkheimer and Adorno trace between enlightenment rationality and the domination of inner and outer nature.

La ficción narrativa tiene el poder de alterar nuestras más arraigadas intuiciones y expectativas acerca de lo que significa seguir una vida éticamente buena, así como del tipo de sociedad que facilitaría tal situación. A veces su poder disruptivo es develador, lo cual lleva a un cambio éticamente significativo en la percepción. Sostengo que los poderes disruptivos y develadores de una ficción narrativa constituyen un potencial para el conocimiento ético. Interpreto este conocimiento como un proceso de aprendizaje, orientado por una (...) preocupación acerca de la verdad, que involucra la acción racional y el compromiso afectivo de un sujeto humano encarnado. Con el fin de mostrar esto, me enfrento de manera crítica a la lectura de Kafka realizada por Adorno, usando la historia de Kafka titulada “En la colonia penitenciaria” para desafiar tal análisis. (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)