_Excavates the experiential structure of Habermas’s communicative action._.

Neither Habermas nor his communitarian and poststructuralist critics sufficiently explore the non-linguistic, playful, and performative dimensions of contemporary public spheres. I argue that the approaches of Castoriadis and Touraine can inform a theoretical understanding of the history and current resonance of this public sphere of performance. Their concepts of the social imaginary, the autonomous society, and subjectivation highlight the role of fantasy, images, individualism, and other non-rational factors in late modern public life.

Critics of Jürgen Habermas's theory of communicative action argue that he has failed to recognize the extent to which moral argumentation is grounded in particular historical contexts, cultural traditions, collective identities, or social lifeworlds. Although he has engaged in a series of strategies aimed at acknowledging the role of particularistic considerations without abandoning his primary commitment to ethical universalism, Habermas has not succeeded in meeting all of the objections of his critics. This paper treats the contradiction between formal and substantive (...) rationality, which lies at the heart of the debate, as an empirical phenomenon within the social world. It argues that the antinomy of formal and substantive rationality plays a central role in historical processes of social change. Through critical argumentation, social actors deliberate on contradictions among strategic, moral, and ethical standards of validity, and they struggle to resolve these contradictions through collective action and the reform of laws, policies, and institutions. Examples are drawn from US political history to substantiate the argument, and some questions are raised for further research. (shrink)

Trata-se de analisar os usos da racionalidade mimética em Jacques Lacan e Theodor Adorno, isto a fim de mostrar como, nos dois casos, encontramos uma estratégia de reflexão sobre a mimesis que a eleva à condição de elemento fundamental para uma teoria do reconhecimento que não se esgote na temática da intersubjetividade. Neste sentido, este estudo insere-se em uma pesquisa mais ampla a respeito dos modos de aproximação entre psicanálise lacaniana e Escola de Frankfurt no que diz respeito ao problema (...) dos destinos da categoria de sujeito e dos processos de reconhecimento. (shrink)

This article discusses the theological implications of Adorno’s writings on Beckett by specifically examining their constellative motifs of death, reconciliation and redemption. It addresses not only their content but also their form, suggesting a mutually stimulating relationship between the two as based both on a negative-dialectical approach and an inverse-theological trajectory. Focusing on Adorno’s discussion of Beckett’s oeuvre as a “metaphysical entity,” I argue that Adorno’s reading of Beckett is peculiar because it is inextricably tied to his own critical-theological venture. (...) The essay claims that Adorno’s reflections on Beckett contour, at their most basic level, meditations on theology in the age of its impossibility. (shrink)

In his moral theory, named ‘discourse ethics,’ Jürgen Habermas holds that a norm is morally valid only when it is universalizable. He establishes the principle of universalization as the procedural principle for testing the moral validity of norms in moral discourse. He argues that this principle can be derived from the pragmatic presuppositions of argumentation in general. By explicating the fiduciary status of pragmatic presuppositions of argumentation, and by distinguishing perspectival from comprehensive universalization, I argue that Habermas fails to justify (...) his moral principle.Dans sa théorie morale, dénommée «éthique de la discussion», Jürgen Habermas considère qu’une norme n’est moralement valide que lorsqu’elle est universalisable. Il propose le principe d’universalisation comme principe de procédure pour tester la validité morale des normes dans une discussion pratique. Il fonde ce principe sur les présuppositions pragmatiques de l’argumentation en général. Par la présentation du statut fiduciaire de ces dernières, et en distinguant l’universalisation partielle de l’universalisation globale, cet article vise à montrer pourquoi Habermas ne parvient pas à justifier son principe moral. (shrink)

: María Pía Lara's two books, La Democracia como proyecto de identidad ética and Moral Textures: Feminist Narratives in the Public Sphere are described and analyzed. Her contribution to a feminist left-Habermasian theory of the relationship between the aesthetic dimension and the political imaginary are discussed. Questions and concerns, however, are raised regarding the assumptions of universal pragmatics and Lara's attempt to offer a positive reading of the dependence of the political imaginary on literary acts and genres.

María Pía Lara's two books, La Democracia como proyecto de identidad ética and Moral Textures: Feminist Narratives in the Public Sphere are described and analyzed. Her contribution to a feminist left-Habermasian theory of the relationship between the aesthetic dimension and the political imaginary are discussed. Questions and concerns, however, are raised regarding the assumptions of universal pragmatics and Lara's attempt to offer a positive reading of the dependence of the political imaginary on literary acts and genres.

Jürgen Habermas’ characterization of Adorno’s project as an aestheticization of philosophy continues to influence our reading of his work. In contradiction to Lambert Zuidervaart, who suggests that in order to be understood as politically relevant, Adorno’s philosophy must be supplemented with empirical research, I argue in this article that Adorno’s work contains many of the resources we would need to theorize an ethical politics. First, it both identifies the moral debt carried by the subject and addresses the need for social (...) transformation in order to change this situation. Second, it proposes an ethical comportment of self-relinquishment as a first step towards this reorganization of the social. The self-relinquishment of philosophy to its object is modeled upon aesthetic experience, which, according to Adorno, we must regard as a remorseful atonement for the subject’s domination of the object in its attempt to ‘wrest itself free’ ( Aesthetic Theory, 1997c: 112) of undifferentiated being. By incorporating into philosophical thought the mimetic bodily impulses tamed by aesthetic form, we may engender within ourselves a solidarity with objectivity. Rather than the self-possessing and conservative subject that constitutes its world mentally, Adorno theorizes a subject for whom thinking is a temporalization or a becoming. Thinking produces otherness within the subject itself. In this thinking-as-becoming, we see the beginnings of a highly individuated political subjectivity capable of acting in solidarity with the other. This brings us to the third element within Adorno’s philosophy that can serve us in formulating an ethical politics: the non-violent organizational principle of the modern work of art. In mobilizing the logic of the modern work of art, the autonomous individual is empowered to forge a politics that preserves contradiction in the facilitation of a non-violent relation with others. (shrink)

This paper provides a critical interpretation of the theme, point, and methodological status of Adorno’s so-called negative dialectic. The theme at issue, ‘non-identity’, comes in several varieties; and the point of Adorno’s dialectic, namely reconciliation, is multifaceted. Exploration of those topics shows that negative dialectic seques into substantive doctrines, including a version of transcendentalism and a claim about deformation. The peculiar methodological status of negative dialectic explains that adumbration. In the appraisive register, my principal contentions include these: Adorno’s transcendentalism makes (...) some sense of the aforementioned deformation claim; and negative dialectic qua method avoids mystery and metaphysical excess. (shrink)

According to Wittgenstein, in the remarks collected as Culture and Value , ‘People nowadays think, scientists are there to instruct them, poets, musicians etc. to entertain them. That the latter have something to teach them; that never occurs to them.’ 18th and early 19th century art-lovers would have taken a very different view. Dr. Johnson assumed that the poets had truths to impart, while Hegel insisted that ‘In art we have to do not with any agreeable or useful child's play, (...) but with an unfolding of the truth.’ Though it still exerts a submerged influence, the concept of artistic truth has since sustained hammer-blows both from modernist aestheticism, which divorces art from reality, and from postmodern subjectivism about truth. This article aims to resurrect it, seeking a middle way between Dr. Johnson's didactic concept of art , and the modernist and postmodernist divorce of art from reality. (shrink)