Fabian Freyenhagen's impressive reconstruction of Adorno's ‘practical philosophy’ provides a convincing defence of the possibility of making normative claims about the social world we live in without justifying these claims in terms of the right, the good, or human nature. More specifically, and more controversially, Freyenhagen argues that the normative resources Adorno's critique relies on are provided by a negative Aristotelianism. In this paper, I argue that this approach underestimates the extent to which Adorno follows the model of (...) class='Hi'>immanent critique, I highlight the socio-theoretical underpinnings of what Freyenhagen calls Adorno's ‘ethics of resistance’, and I discuss the risk of overstating the danger of co-optation that collective political action faces. (shrink)

R. Rorty uncouples cosmopolitanism from emancipation and rejects the latter on both phylogenetic and ontogenetic grounds. Thus: 1. There is no human nature to be emancipated, and 2. The notion of a rational, transcendental and conditioning subject (presupposed by traditional theories of emancipation) is obsolete. He preserves the idea of cosmopolitanism, which, in an effort to avoid foundationalisrn, he associates only with the development and progress of liberal societies. His cosmopolitanism relies on the distinction between persuasion and force (...) and his preference for conversation over rational discourse. In this paper, I discuss Rorty''s claims and trace residues of biologism, positivism, and behaviourism in them. By putting forward an immanent critique of Rorty''s account of cosmopolitanism and emancipation, I defend a non-foundationalist notion of redemption as self-realization and propose a new justification of Rorty''s distinction between force and persuasion. (shrink)

When we criticize social institutions and practices, what kinds of reasons can we offer for such criticism? Political philosophers often assume that we must rely on universal moral principles that are not necessarily connected to the particular social practices of our communities. Traditionally,continental critical theory has rejected this claim through its endorsement of the method of immanent critique. Immanent critique is a critique of social practices that draws on norms already present within these practices to (...) demand social change, rather than merely conservatively reproducing them. This book defends the claim that such a critique is not only possible, but also has politically powerful potential. Taking up recent developments in analytic collective intentionality theory and in the philosophy of language, the book argues that all social practices rest on structures of mutual recognition between persons that allow social theorists to reconstruct hidden norms present within these practices. Starting from a comprehensive critique of contemporary critical theory, the book also spells out the consequences of this line of thought for the practice of social critique, for the social sciences and for political philosophy. (shrink)

This article reconstructs Nietzsche's shifting views on democracy in the period 1870–86 with reference to his enduring preoccupation with tyrannical concentrations of power and the conviction that radical pluralism offers the only effective form of resistance. As long as he identifies democracy with pluralism , he sympathizes with it as a site of resistance and emancipation. From around 1880 on, however, Nietzsche increasingly links it with tyranny, in the form of popular sovereignty, and with the promotion of uniformity, to (...) the exclusion of genuine pluralism. Democracy's emancipatory claims are reinterpreted as "misarchism," or hatred of authority, and Nietzsche looks to the "exceptional beings" excluded by democracy for sources of resistance to the "autonomous herd" and "mob rule." Against elitist readings of this move, it is argued that Nietzsche opposes the domination of the herd type under democracy from a standpoint in human diversity and a generic concern with the future of humankind. Exceptional individuals are conceived in pluralistic, agonal terms, as a community of legislators engaged in a process of transvaluation that serves the interests not of one or a few but of all of us: "the self-overcoming of the human.". (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This paper critically evaluates the semantic externalist conception of Race and Gender concepts put forward in Sally Haslanger's 2012 essay collection "Resisting Reality". I argue that her endorsement of "objective type externalism" limits the options for critique compared to social externalist approaches.

Normative reconstruction is a form of immanent critique which judges society in terms of values which are already institutionalized and implicitly expressed across everyday forms of interaction. Honneth, for his part, reads the value of social freedom into the normative grammar of modern institutions and anticipates further advances towards its institutionalization. Many have voiced doubts over the extent to which the model of normative reconstruction which Honneth proposes is solidly anchored in social reality: at worst, it is (...) argued, this reality is resistant to reconstruction in terms of the value of social freedom; at best, it is too susceptible to multiple readings to allow for such a reconstruction. I seek to respond to these charges, while also testing the reach of Ricoeur’s understanding of the philosophical anthropological idea of indebtedness to the past, by following up on Honneth’s appeal to a horizon of social memory in response to his own uncertainties over the viability of normative reconstruction. More generally, I seek to arrive at a better understanding of the capacity of memory to orientate social critique within a shifting historical landscape. (shrink)

A critical retrospective of 'The Psychological Technique of Martin Luther Thomas' Radio Addresses' sheds new light on an often underplayed tension in Adorno's thought concerning the capacity of mass culture to express resistance against domination. In 'Thomas' Adorno moved beyond denouncing mass culture as 'culture industry' by approach ing early Christian right radio in a manner consistent (initially) with his defense of the autonomous dimension of culture in general. At the same time, 'Thomas' accomplished groundwork for the culture industry theory, (...) and this theory ultimately guided the study's conclusions. This critique confirms Adorno's ambivalence regarding the negative capabilities of mass culture while suggesting a new way to analyze the contemporary Christian right. This approach, which I illustrate, draws upon both the culture industry theory and a modified version of Adorno's method of immanent, dialectical criticism to identify ideological elements as well as moments of resistance in Christian right radio today. (shrink)

Critical theories often express scepticism towards the idea that social critique should draw on general normative principles, seeing such principles as bound to dominant conceptual frameworks. However, even the models of immanent critique developed in the Frankfurt School tradition seem to privilege principles over particular moral experiences. Discussing the place that particular moral experience has in the models of Honneth, Ferrara and Adorno, the article argues that experience can play an important negative role even for a critical theory (...) that is committed to the necessity of conceptual mediation, as moral experiences can undermine our confidence in the appropriateness of our moral concepts. Building on McDowell’s account of moral perception and Brandom’s interpretation of Hegel’s theory of experience, one can reconstruct Adorno as providing a “radically negativist” approach to immanent critique that takes particular moral experience seriously. (shrink)

This working paper examines the notion of "immanent critique", a central methodological commitment of critical theories of society. In the first part, I distinguish immanent critique - a critique which reconstructs norms immanent in a social practice which point beyond the normative self-understanding of its members - from both external and internal critique and examine three questions that a theory of immanent critique has to answer (a social ontological, an epistemological and a justificatory question). (...) After surveying some of the classic accounts of immanent critique in part two, I then distinguish two varieties of immanent critique, a hermeneutic and a practice-theoretic approach. Drawing on theories in recent analytic philosophy, I finally argue for a practice-theoretic approach to immanent critique that locates the relevant norms in a practice constituted by mutual recognition. (shrink)

On pourrait croire que le thème de l’émancipation a disparu de la Théorie Critique dans sa version la plus récente, en particulier chez Habermas. Mais on devrait plutôt dire que l’intérêt à l’émancipation, notion que Habermas avait dans un premier temps reprise à Max Horkheimer, a émigré dans l’immanence de l’État de droit démocratique. Jusqu’où la reconstruction habermassienne de l’État de droit permet-elle tout à la fois de revitaliser et de conférer un sens nouveau aux visées pratiques, sociales et politiques, (...) émancipatrices? Telle est la question qui nous retiendra. (shrink)

ABSTRACT This article investigates social critique in Thucydides’ History of the Peloponnesian War. Two famous Thucydidean episodes are in focus: the Mytilenean Debate in Book III and the Melian Dialogue in Book V of the History. These episodes are interpreted here as inquiries assuming the shape of subversive and transformative social criticism: immanent critique. Immanent critique aims at shifting horizons of meaning in social contexts, and the philosophers practicing this kind of social criticism understand (...) themselves as physicians of a failing society. In Thucydides’ work, a particular object of criticism is formed by varying dominant social and moral ordering principles. In the Mytilenean Debate, it is the principle of expediency that rules, whereas in the Melian Dialogue the governing normative ordering principle is that of safety and survival. In each episode, a contending perspective is introduced for the purpose of undermining the dominating principle. (shrink)

In this article, Rebecca Tarlau attempts to build a more robust theory of the relationship between education and social change by drawing on the conceptual tools offered in the critical pedagogy and social movement literatures. Tarlau argues that while critical pedagogy has been largely disconnected from its roots in political organizing, social movement literature has shifted away from a theory of educational processes within movement building. Specifically, she suggests that the currently dominant “framing perspective” in the (...) class='Hi'>social movement literature is incredibly limited in its ability to analyze the pedagogical aspects of organizing. Conversely, while scholars of critical pedagogy are extremely convincing when critiquing U.S. schooling, the field is weaker when theorizing about how teachers using critical pedagogy can link to larger movements for social transformation. Critical pedagogues need more organizational thinking and social movement scholars need a more pedagogical focus. Tarlau suggests three conceptual frameworks for moving forward in this direction: the notion of social movements as pedagogical spaces, the role of informal educational projects in facilitating the emergence and strength of social movements, and the role of public schools as terrains of contestation that hold the possibility of linking to larger struggles for social justice. (shrink)

Critique is a concept that is constantly used as an instrument for agreement or disagreement, for reflection and discussion. There is a difference, however, between critique as a historically grounded phenomenon and critique as a utopian conception not situated in any particular socio-historical context. Educational theory resists reduction to empirical science partly because of its utopian character. Thus tensions that arise within it concerning its individual, social and emancipatory aims mean that it always has a double aspect of being (...) both utopian and socially grounded at the same time. In general there is a tension within the practice of education between upbringing, on the one hand, and self-emancipation on the other, which is reflected at the level of educational theory in the distinction between normative-utopian and dogmatic-empirical elements. Even a utopian critique, however, must make use of the social and historical materials available in order to function, and thus it becomes itself historically situated. This unavoidable situation is one that must be embraced by a self-consciously utopian form of theorising. Just like other theories of society, the theory of education has two possibilities for self-definition. It can be conceived of either as a utopian or as a factual theory. In the latter case, it follows social contingency passively, giving itself over to the ‘destiny of Being’ in order to await the ‘result’. But it can also be interested and take part in social processes, and thus contribute to the opening out of thought and culture to utopian considerations. Educational critique, even in the utopian sense, however, has to recognise its own dogmatic elements in order to function as critique. It is thus self-evident that critique without dogmatism is not only impossible but also senseless. Similarly, educational dogmatism, although it apparently excludes critique by definition, must contain within itself the possibility of new forms of critique based on its own assumptions. Its very reliance on empirical methods to address the solution of unquestioned problems can itself subvert the dogmatic normative assumptions on which that empirical enquiry is based. (shrink)

This article develops, illustrates, and defends a conception of immanent critique. Immanent critique is construed as a form of hermeneutical practice and second-order political and normative criticism. The common charge that immanent critique is a form of philosophical conventionalism necessarily committed to value relativism and to the rejection of transcultural and cosmopolitan norms is denied. But immanent critique insists that meaningful and potentially efficacious criticism must be connected to relevant criteria and understandings internal to the culture (...) or social order at which the criticism is directed. The complaint that this demand will likely limit political and moral criticism is also denied, and the ability of immanent critique to develop from convention unconventional thinking is defended and demonstrated. (shrink)

ABSTRACT There are two traditions of immanent social critique. One of them, prominent in contemporary Frankfurt school critical theory, regards the immanence of critique as a quality of the standard employed. Such a conception of immanent critique needs to show, prior to the concrete practice of critique, how the standard is immanent in the object of critique. Showing this is the task of a “model of immanent critique.” The other tradition, going back to Hegel's Phenomenology (...) of Spirit and practiced in particular by Dewey in his later works, regards the immanence of critique as the form of critical practice itself. Because such a conception of immanent critique does not, at the outset, ask how the standard is immanent to its object, it also does not need a model licensing critical practice. Indeed, it must be inherently hostile to any attempt at modeling immanent critique because the immanence lies in the power of critical practice to transform any models it applies. (shrink)

This article outlines the chief challenges concerning the philosophical theories of emancipation and clarifies the solutions provided by a so-called negative theory of justice. Besides highlighting the classic questions that every philosophical theory of emancipation is expected to answer, the article aims to highlight the link between this theoretical framework and an immanent critique of conditions of domination. Moreover, it sheds light on the main differences between this theoretical perspective and Honneth’s theory of recognition, Fraser’s three-dimensional conception (...) of justice, and the critique of power relations recently advanced by Rainer Forst. The comparative analysis of these theoretical approaches will make it possible to highlight and appreciate the main merits of a so-called negative theory of justice that combines a multidimensional diagnosis of existing asymmetries of power with an immanent critique of their justifications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Resisting Structural Evil: Love as Ecological-Economic Vocation by Cynthia Moe-LobedaKiara A. JorgensonReview of Resisting Structural Evil: Love as Ecological-Economic Vocation CYNTHIA MOE-LOBEDA Minneapolis: Fortress Press, 2013. 309 pp. $22.00The factors that have contributed to today’s perilous global economy and ecology originate in structures that predate recent implosions of international banks or measurements of rising climates. These structures—systemic and social while also personal—are the focus of Moe-Lobeda’s work, (...) Resisting Structural Evil: Love as Ecological-Economic Vocation. Convinced that sin and violence is “uncreating” the beauty of God’s interdependent community and can only be countered and alleviated by a moral vision structured around “justice-seeking love,” Moe-Lobeda provides a compelling theological critique and reconstruction of the Christian concept of love by way of a fresh retrieval of the classical Christian doctrine of vocation.The book’s argument consists of a tapestry of sobering statistics, theological analysis, and narrative prose. Early on Moe-Lobeda takes great care to explain how the moral crises of today relate to the embedded social structures of yesterday. Here her attention to the globalization of economies and subsequent ecological injustice is particularly helpful since few contemporary texts make explicit this critical connection. In a chapter titled “Countering Moral Oblivion” she also devotes attention to why seemingly good people, particularly good Christians, passively and ignorantly participate in systems of oppressive power. This portion of her book, coupled with her discussion of how Christian theology can be a resource of hope, is empowering and particularly attentive to the role of biblical theology in the ecological conversation. Unlike many other theoretical books on the topic, Moe-Lobeda’s book can be appropriated as a tool for lifestyle appraisal useful to the academician, pastor, and lay reader alike. Indeed, Moe-Lobeda can evoke discomfort with her compelling vision and challenging call for a change in our current practices.Pivoting her argument on the promise of hope, the second half of Resisting Structural Evil discusses what can and must be realized. And it is here that Moe-Lobeda’s voice makes a contribution not only to Christian ecological ethics but also to Christian social ethics at large. Vocation, she argues, encompasses more than what traditional renderings of vocare have sought to connote. The human call to life is a call to love in compassion and justice both the neighbor [End Page 208] and the self, and must be made manifest in the public sphere. What is more, one must fulfill one’s vocation not only for the sake of the human other but also for the benefit of the oikos (household) present within all economic and ecological communities. To this end, Moe-Lobeda’s attention to love as vocation uniquely characterizes her approach to ecological ethics, thereby transcending traditional deontolological or teleological classifications. Unique within Protestant work on ecological ethics, Resisting Structural Evil provides a fresh depiction of character ethics wherein the pursuit of moral aptitude is fundamentally rooted in biotic community.This very strength may also foster some critique since Moe-Lobeda’s schema is so thoroughly corporate in scope that it affords little time and attention to what some virtue and character ethicists would call the inward journey. Yet Moe-Lobeda, aligned with the liberal and feminist traditions from which she hails, views love and power as inseparable. “What is needed,” she argues, “is a realization that power without love is reckless and abusive and that love without power is sentimental and anemic” (169). Hence, on a very fundamental level Resisting Structural Evil is a book arguing for a radically new paradigm, one where the enormity of today’s crises is met with an equally comprehensive dose of transformative loving power.Kiara A. JorgensonLuther SeminaryCopyright © 2015 Society of Christian Ethics... (shrink)

The article argues that Honneth’s idea of reconstructive critique represents a type of immanent critique. Starting from the objection raised by Rahel Jaeggi, who considers the reconstructive critique to be a genre of internal criticism devoid of any transformative negativity, it seeks to show, on the contrary, that Honneth’s notion of “surplus of validity” plays a role of transcendence within the historical reality, which could explain his understanding of reconstructive critique as immanent one. In the second part, the (...) paper displays how Honneth applies this conception of critique to solve the division within Critical Theory, induced by Habermas’s use of the idea of rational reconstruction, which would have split off the tasks of founding the normative criteria and discovering immanently elements for the social transformation. In the third part, the category of surplus of validity is investigated in its function of enlightening possibilities of transformation following an “universal-particular dialectic”. In its final part, the paper addresses some conceptual difficulties in Honneth’s attempt to clarify the systematic value and philosophical meaning of the surplus of validity within the framework of normative reconstruction. (shrink)

The development of the theory of deliberative democracy has culminated in a synthesis between Rawlsian political liberalism and Habermasian critical theory. Taking the perspective of conceptions of freedom, this article argues that this synthesis is unfortunate and obscures some important differences between the two traditions. In particular, the idea of internal autonomy, which was an important, implicit idea in the ideology critique of the earlier Habermas, falls out of view. There is no room for this dimension of freedom in political (...) liberalism and it has largely disappeared from the later Habermas. In so far as others have followed Rawls and Habermas, deliberative democratic theory has converged around a less critical and more accommodationist view of freedom. If we want to keep deliberative democracy as a critical theory of contemporary society, we should resist this convergence. Our starting point should not be `the fact of reasonable pluralism' but rather `the fact of unreflective acquiescence'. This article argues for incorporating internal autonomy in a complex theory of freedom to which deliberative democracy should be normatively committed. (shrink)

The tradition of immanent critique promises a lot. It promises to be critical of the existing social order without appealing to ‘external’ normative standards. I argue that the prospects for immanent criticism are bleak: they must either commit to an implausible social ontology, a flawed meta-normative theory, or both.

I argue that Diogenes and early Cynicism can be understood in an explicitly social and political context, where Cynic praxis, performative public action, can be seen to make visible oppositions inherent to the polity. In doing so, Diogenes’ praxis should be understood as a form of immanent critique, one that demonstrates, for example, that nature and custom are interrelated oppositions in the polis. Cynicism here is understood as a form of immanent critique because Diogenes challenges the (...) class='Hi'>social norms of the polis without endorsing external universal standards or predetermined models, but from illuminating dynamics from within the polis and polity. (shrink)

Abstract:Taking up the question of style, I argue that this term provides a generative framework for reassessing the historical challenges of feminist writing and politics. To develop my argument, I read Judith Butler's philosophy alongside Denise Riley's poems, historical criticism, and philosophical prose, proposing that both writers are inventive participants in the tradition of immanent critique. I demonstrate how feminist questioning of linguistic conventions and social norms is enfolded in Butler's paratextual reflections on philosophical grammar and in Riley's (...) poetic and theoretical efforts to acknowledge her uneasy relationship to lyric. Any dialogue between philosophy and poetry returns us to the longstanding debate about the value of these respective disciplines. I conclude by proposing that Riley and Butler encourage us to consider that each demands the other as a supplement—a necessity that emerges from the need to account for the collective life in which language is embedded. (shrink)

According to Jürgen Habermas, his Theory of Communicative Action offers a new account of the normative foundations of critical theory. Habermas’ motivating insight is that neither a transcendental nor a metaphysical solution to the problem of normativity, nor a merely hermeneutic reconstruction of historically given norms, is sufficient to clarify the normative foundations of critical theory. In response to this insight, Habermas develops a novel account of normativity, which locates the normative demands of critical theory within the socially instituted practice (...) of communicative understanding. Although Habermas has claimed otherwise, this new foundation for critical theory constitutes a novel and innovative form of “immanent critique.” To argue for and to clarify this claim, I offer, in section 1, a formal account of immanent critique and distinguish between two different ways of carrying out such a critique. (shrink)

Two trends have emerged in recent work from the Frankfurt School: the first involves a reconsideration of immanent critique’s basic commitments and viability for critical social theory, while the second involves an effort to introduce temporal considerations for social interaction into critical theorizing to help make sense of the phenomenon of social acceleration. This article contributes to these ongoing discussions by investigating whether social systems theory, in which temporal relations play a primary role, can be (...) integrated with immanent critique. If such a synthesis were successful, it would promise to unify two distinct forms of social theorizing that have often been taken to be orthogonal or incommensurate since the debate between Luhmann and Habermas in the 1970s. The investigation proceeds in three parts: first, the article delineates immanent critique’s conditions of success; second, using these conditions, it identifies potential points of contact between social systems theorizing and immanent critical forms of analysis, while exemplifying these commonalities via a case study; finally, the article argues that, although immanent critique is not a strict method of analysis or investigation, its success conditions preclude social systems theory on the grounds that the latter approach cannot anchor itself within the context of analysis in the way ‘immanent critique’ requires. (shrink)

This paper explores Saidiya Hartman's undertheorized account of 'redress' in conversation with the extensive uptake of her work on Black fungibility, subjection, and critiques of emancipation. Although Hartman uses the term in nearly all of her writing, little work has been done to clarify how Hartman conceptualizes redress as a response to the constitution of Black lives as abstract, exchangeable, and disposable. This paper offers an account of how Hartman theorizes redress, showing how it both resists, and acts as (...) a mechanism for, the constitution of Blackness as fungible. Consequently, I argue that Hartman's readers fundamentally skew her thinking in divorcing redress from her other key concepts. (shrink)

Immanent critique has been a defining feature of the programme of critical social theory. It is a methodology that underpins theoretical diagnoses of contemporary society, based on its linking normative and empirical modes of analysis. Immanent critique distinctively seeks to discern emancipatory or democratizing tendencies. However, the viability of immanent critique is currently in question. Habermas argued that it was necessary to revise the normative foundations of critical social theory, late-capitalist developments tended to undermine (...) class='Hi'>immanent critique. Although there is a need for critical social theory to incorporate aspects of alternative interpretations of the contemporary period, the logics of influential theoretical perspectives on the present, especially postmodernism, the risk society and globalization, will be shown to be inconsistent with some of immanent critique's presuppositions. The synthetic aspirations of critical social theory nevertheless persist in recent attempts to reconcile positive liberty and social justice. (shrink)

More women are currently incarcerated than at any other time in US history. Though the United States has begun to acknowledge mass incarceration as an international embarrassment, the discourse has centered on men of color, and the experiences and consequences of US mass incarceration for women of color have been largely ignored. This is the case in spite of a now strong mainstream, institutionalized movement to end violence against women, and a growing prison reform movement ostensibly meant to help vulnerable (...) women. This paper uses the method of immanent critique to explain why women of color have been left behind by reform strategies, and to make a normative argument for abolitionist strategies. I use Beth E. Richie’s analysis of the failure of the feminist anti-violence movement to protect poor women of color, to expose the contradictory circumstance that turns “public safety” and “anti-violence” against the women they claim to protect, and to argue that reform is not enough. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 2, Page 184-208, February 2022. Being critical does not come easy, not even within Critical Theory. In this article I respond to criticism of my book from 2019, Capitalism, Alienation and Critique, arguing that contemporary Critical Theory has something to learn from the founding fathers. Firstly, for Adorno immanent critique has metaphysical implications beyond Honneth’s critique of bourgeois society as inconsistent in terms of its professed ideals. Secondly, immanent critique is (...) not the same as ideology critique, and when it comes to Horkheimer and Habermas, they conducted the latter rather than the former. Thirdly, even though today nature must be our concern, answers are to be found in politics and metaphysics rather than science. Finally, critique of neoliberalism should be conducted as critique of political economy, that is, ideology critique, rather than sociological descriptions of the empirical details of globalized capitalism. Denaturalizing economics is a condition for economic democracy. (shrink)

This paper critically analyses realist evaluation, focussing on its primary analytical concepts: mechanisms, contexts, and outcomes. Noting that nursing investigators have had difficulty in operationalizing the concepts of mechanism and context, it is argued that their confusion is at least partially the result of ambiguities, inconsistencies, and contradictions in the realist evaluation model. Problematic issues include the adoption of empiricist and idealist positions, oscillation between determinism and voluntarism, subsumption of agency under structure, and categorical confusion between context and mechanism. In (...) relation to outcomes, it is argued that realist evaluation's adoption of the fact/value distinction prevents it from taking into account the concerns of those affected by interventions. The aim of the paper is to use these immanent critiques of realist evaluation to construct an internally consistent realist approach to evaluation that is more amenable to being operationalized by nursing researchers. (shrink)

This article presents a blueprint of a feminist agenda for the twenty-first century that is oriented not by the telos of gender parity, but instead evolves as an ‘immanent critique’ of the key structural dynamics of contemporary capitalism – within a framework of analysis derived from the tenets of Critical Theory of Frankfurt School origin. This activates a form of critique whose double focus on (1) shared conceptions of justice; and (2) structural sources of injustice, allows criteria of (...) class='Hi'>social justice to emerge from the identification of a broad pattern of societal injustice surpassing the discrimination of particular groups. In this light, women’s victimization is but a symptom of structural dynamics negatively affecting also the alleged winners in the classical feminist agenda of critique. The analysis ultimately produces a model of social justice in a formula of socially embedded autonomy that unites work, care, and leisure. (shrink)

Since the emergence of neo-evolutionism in the 1960s, various critiques of the theory of social or socio-cultural evolution have been forwarded, including notably those of Immanuel Wallerstein, Alain Touraine and Anthony Giddens who decisively reject the idea of evolution. Within this context, Jürgen Habermas's theory of socio-cultural evolution has also become a specific object of critique, the best known in the English-speaking world being, perhaps, Michael Schmid's critique. While the latter is ultimately based on neo-Darwinistic assumptions which allow a (...) non-Marxist alternative to be pitted against Habermas's position, a significant immanent critique has been taking shape during the late 1970s and 1980s the contours of which are at present starting to become visible, despite the fact that as yet it is nowhere developed and presented in a systematic manner. I have in mind here the work of younger authors belonging to the circle around Habermas, such as Johann Arnason, Axel Honneth, Hans Joas, Günter Frankenberg, Ulrich Rödel, and Klaus Eder, who have not only developed a critique of Habermas but are also engaged in developing an alternative to him within the framework of critical theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 155-157 [Access article in PDF] Religious Feminism and the Future of the Planet: A Buddhist-Christian Conversation. By Rita M.Gross and Rosemary Radford Ruether. New York: Continuum, 2001. 229 pp. Is feminism indigenous to Buddhism and Christianity? Or must feminists reinvent their religious traditions? The probing autobiographical reflections by Rita Gross and Rosemary Ruether expose the tensions of feminist reform. Like many religious feminists, they claim (...) to preserve continuity with tradition despite their innovations. But upon reading Religious Feminism and the Future of the Planet, the similarities between feminist Buddhism and feminist Christianity lead me to wonder whether feminism plays a more formative role than tradition in shaping their visions of the future.The ingenious structure of the book allows the opportunity for maximum dialogue. [End Page 155] Authors write chapters paired on the same topic, and each chapter has a short response attached. This organization mirrors the real-life dialogue between Gross and Ruether that occurred at a workshop in Grailville, Ohio, in 1999. The back-and-forth movement allows for meta-reflection on feminist interpretation, on the self-understandings of scholars who practice the traditions that they study.The first two chapters are autobiographical. There is an especially detailed account of Gross's journey toward Tibetan Buddhism and a shorter chapter on the evolution of Ruether's Catholic identity. The second pair of chapters responds to patriarchal religious origins. Ruether's critique of Christian sexism is theological, dealing with Christology, anthropology, and ecclesiology. In contrast, Gross asserts that the Buddhist "view" or theology is nonsexist and even feminist, thus she considers male leadership as the main obstacle to women. The difficulty of defending such large claims in a short space is compensated by the fact that their conclusions have already been developed in previous publications.Striking parallels emerge when the authors identify what is most liberating in their tradition and most inspiring in the other tradition. In both cases, mindfulness practice in Buddhism and the prophetic voice in Christianity are singled out. The overarching message is that Christians can learn about prayer from Buddhists, and Buddhists can learn about social critique from Christians. Another crucial parallel occurs when the authors choose one key social problem to address religiously—they both focus on environmental ethics. They agree that loving care for the earth is the key to both ecological and human flourishing.One asymmetry, however, concerns sensitivity to departure from tradition. In particular, Gross questions whether by utilizing "prophetic" critique she is applying an extrinsic Hebrew and Christian viewpoint to Tibetan Buddhist reflection. I greatly admire how she faces up to the problem of discontinuity between feminist critique and Buddhist institutions rather than insist that the tradition is inchoately feminist. Ruether, on the other hand, does not take the discontinuity between traditional and feminist Christian viewpoints as seriously, although she undoubtedly reshapes Christianity, particularly theological doctrines, into new forms.From a Christian perspective, I notice striking omissions in Ruether's presentation concerning the subject of prayer and the theme of suffering. When Ruether experimented with lay monastic practice early on in her career, she became impatient with silence and intensive prayer as isolating and unproductive. In her autobiographical chapter, she speaks of turning away from prayer toward social engagement. Yet she also mentions admiration for certain contemporary monks and nuns who are on the vanguard of creative worship and ethical engagement. Although she admires Buddhist mindfulness, she does not take seriously analogous Christian meditative practices and their capacity to sustain social activism. She leaves the impression that prayer and action are separate paths, whereas Christian prayer and resistance may be closely associated.The nature of suffering and its overcoming are topics central to Christianity and Buddhism, as well as to feminist thought. For feminists, reflection on suffering tends [End Page 156] to concentrate on exposing and removing its causes, such as abuse, oppression, or violence. Buddhists also focus on cessation of suffering, but "suffering" is centrally an individual barrier to overcome before social issues can be corrected. In contrast, Christians think about... (shrink)

We propose a conceptual framework for analysing the relationship between social emancipation and alternative technology development. Key is the “functional autonomy” of the collective of users and developers of the technology vis-a-vis state and capital. We draw on previous empirical work about three hacker projects to substantiate the claim that the functional autonomy of hackers rests on three “pillars of autonomy”: technical skill, shared values, and collective memory. These three pillars sustain the autonomy of a community of hackers (...) so that it may successfully resist recuperation attempts by capital. We make this claim in contradistinction to looser constellations of users, citizen scientists, DIY hobbyists, etc., where the functional autonomy tends to be much weaker. Hence, in the latter case, we should expect the actors to be recuperated in short time. The emancipatory promises that they make in regard to their practices, and are often mirrored in the academic literature about user innovation, citizen science, etc., will then turn sour. From this observation, we develop a second-order reflection on the role of the scholar studying purportedly emancipatory technology projects. As against the popular “follow-the-actors” approach, we defend the continued need for scholarly critique. We do so with the caveat that critique must in part be conducted as self-critique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 3-10 [Access article in PDF] Can Immanence Explain Social Struggles? Ernesto Laclau Michael Hardt and Antonio Negri. Empire. Cambridge, MA: Harvard UP, 2000. In a recent interview 1 Jacques Rancière opposes his notion of "people" (peuple) 2 to the category of "multitude" as presented by the authors of Empire. As is well known, Rancière differentiates between police and politics, the first being the logic of (...) counting and assigning the population to differential places, and the second the subversion of that differentiating logic through the constitution of an egalitarian discourse which puts into question established identities. "The people" is the specific subject of politics, and this term presupposes a sharp division in the social body which cannot be led back to any kind of immanent unity. Empire, on the contrary, makes immanence its central category and the ultimate ground of the multitude's unity.The main lines of Rancière's critique provide a good starting point for what we have to say about the book. The immanentism of Hardt and Negri would be linked, according to Rancière, to their Nietzschean/Deleuzian ethics of affirmation, which does away with any reactive or negative dimension. Empire would belong, in that respect, to the whole tradition of modern political philosophy, which is profoundly metapolitical: "the kernel of metapolitics is to lead back the precarious artifices of the political scene to the truth of an immanent power which organizes beings in a community and identifies the true community with the grasped and sensible operation of this truth" ["Peuple ou multitudes" 96]. From Hardt and Negri's rejection of any inherent negativity in political subjects, it follows that the power inherent in the multitude has to be a disruptive power, "lodged in all states of domination as its ultimate content, a content destined to destroy all barriers. 'Multitudes' have to be a content whose continent is Empire" ["Peuple ou multitudes" 97]. Disruptive forces operating through a purely immanent movement are what Marxist theory called "productive forces," and there would be, according to Rancière, a strict homology between the place of productive forces and that in which multitudes, as described in Empire, act. Rancière points out that productive forces should not necessarily be understood in any narrow productivist sense: there has been a constant widening of the concept from the strict economism of classical Marxism, to the recent attempts to introduce in it the ensemble of scientific and intellectual abilities, passing through the Leninist attempt to supplement via political intervention a role that productive forces refused to fulfill.I think that Rancière has rightly stressed what I see as the main source of several weaknesses of Empire, including a central one: that within its theoretical framework politics become unthinkable. So I will start from a discussion of its notion of immanence and move later to various other theoretical and political aspects of the book. [End Page 3]Let us start with the authors' discussion of the origins of European modernity. While the usual insistence is on the secularization process, that process would be, "in our view... only a symptom of the primary event of modernity: the affirmation of the powers of this world, the discovery of the plane of immanence. 'Omne ens habet aliquod esse proprium'—every entity has a singular essence. Duns Scotus' affirmation subverts the medieval conception of being as an object of analogical, and thus dualistic predication—a being with one foot in this world and one in a transcendent realm" [Empire 71]. Duns Scotus's insistence on the singularity of being would have initiated an assertion of immanence that the authors describe as a process whose representative names would have been Nicholas of Cusa, Pico della Mirandola, and Bovillus—other names quoted are Bacon and Occam—and whose point of arrival is Spinoza. "By the time we arrive at Spinoza, in fact, the horizon of immanence and the horizon of the democratic political order coincide completely. The plane of immanence is the one on which the powers of singularity are realized and the one on which the truth of the new... (shrink)

This paper seeks to analyse the contribution of a human rights perspective to emancipatory social work. Human rights practice builds on long-standing values and theoretical frameworks related to emancipatory, radical and structural social work and anti-oppressive practice. However, historical tensions within social work, notably in the United Kingdom, continue in contemporary forms, magnified by the global impact of neo-liberalism. The paper considers connections between human rights and other frameworks, including professional codes; ethical critiques drawing on feminist and (...) indigenous perspectives; the articulation of human rights with social justice; and the strength of a rights-based approach demonstrated by community campaigns and service-user movements. It also addresses discontinuities between human rights and trends in social work and the wider context, including managerialism, privatization, and the consumerization of rights; unexamined rhetoric and limited regulatory interpretations; the dangers of rights being interpreted and imposed from dominant and/or Western perspectives; and the complexities of universal versus culturally specific rights claims. Drawing on the struggles of oppressed groups, the paper argues that a more critical and informed focus on human rights can be a further potentially powerful tool contributing to resistance to oppression, collective solidarity and the promotion of emancipatory change. (shrink)

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode of neoliberal rationality (...) so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

Recently, following the social and subjective consequences of the neoliberal wave, there seems to be a renewed interest in work as occupying a central place in social and subjective life. For the first time in decades, both sociologists and critical theorists once more again regard work as a major constituent of the subject’s identity and thus as an appropriate object of analysis for those engaged in critique of the social pathologies. The aim of this article is to (...) present a succinct analysis of Axel Honneth’s thoughts on the concept of work and to propose an approach granting it a more substantial role in social theory. To this end, this article will embark upon a reappraisal of the importance of the material and psychological dimensions of the subject’s interactions in the world of work. It aims to demonstrate that the normative demands associated with these dimensions are, like the normative demands of recognition, immanent and universal. In other words, it will argue that the normative ideals related to individuals’ bodily and psychic life (in the workplace and beyond) are not necessarily utopian in the negative sense (abstract and unrealistic). If this is indeed the case, theorists could take these normative demands for emancipation as a guide to analyzing the sociological, political and moral implications of the transition from the ‘Fordist’ to the ‘post-Fordist’ organization of labor. (shrink)

Drawing on a historical ethnography of how Brazil’s post-dictatorial psychiatric reforms have shaped young people’s lives, this paper builds on Eve Sedgwick’s analysis of the hermeneutics of suspicion to show that narrow applications of Foucault’s biopower concept nurture forms of resistance to bio-reductionism centred primarily on epistemic deconstruction. To unsettle this hermeneutic, I put young people’s theories of power into conversation with Georges Canguilhem’s concept of the milieu and with feminist scholars’ work on prefigurative politics. I introduce the concepts of (...) threading and unthreading to consider how one subject of biopower, the child-like biobehavioural figure, was continuously being threaded within a specific milieu and in relation to another key figure: the elite angst-ridden ‘storm-and-stress’ adolescent. Young people’s subsequent unthreading and reweaving politics, flourishing in co-construction with what I call the politicizing clinic, illustrate how decolonial pedagogies can incrementally change the patterning of social life. (shrink)

Merleau-Ponty’s appropriation of Gestalt theory in The Structure of Behavior is central to his entire corpus. Yet commentators exhibit little agreement about what lesson is to be learned from his critique, and provide little exegesis of how his argument proceeds. I fill this exegetical gap. I show that the Gestaltist’s fundamental error is to reify forms as transcendent realities, rather than treating them as phenomena of perceptual consciousness. From this, reductivist errors follow. The essay serves not only as a helpful (...) guide through parts of The Structure of Behavior for newcomers, but also offers a corrective to recent trends in philosophy of mind. Such influential commentators as Hubert Dreyfus, Taylor Carmen, and Evan Thompson have, I argue, risked serious misunderstanding of Merleau-Ponty’s view, by mistakenly treating “circular causality” as central to Merleau-Ponty’s own acausal view of forms. -/- [The version archived at Philpapers is closer to the author's preferred format. Formatting requirements in the published version make the section/subsection hierarchy needlessly difficult to follow. There are some changes to content in the published version. Please cite only the published version.]. (shrink)

Contemporary feminist theory by and large agrees on criticizing the traditional, autonomous subject and instead maintains a relational, dependent self, but the vocabulary used to describe the latter remains contested. These contestations are seen in comparing the approach of some feminist legal theory, as demonstrated by Martha Fineman, to the approach of some feminist theory that draws on continental philosophy, as demonstrated by Judith Butler. Fineman's concept of vulnerability emphasizes the universality of vulnerability in the human condition, arguing that a (...) “responsive state” is most conducive to producing subjects who are “resilient” in the face of neoliberal pressures. We argue that vulnerability, as an existential as opposed to a political description, is a limited rubric under which to organize against neoliberal forces. Further, we contend that Fineman's rhetoric of resilience risks reiterating a neoliberal logic of individualized self-management. In response, we look to Butler's concept of precarity, which underscores particular social conditions, as opposed to universal ontological vulnerabilities, that debilitate certain subjects. At stake is how we respond to neoliberal forces today: a vocabulary of precarity poses a more effective challenge than one of vulnerability, for it opens onto not merely individual or institutional resilience but grounded, communal resistance. (shrink)

This essay considers Deleuze and Guattari’s paradoxical claim that Marx’s critique of political economy implies as a universal history derived from the singular features of capitalism. In this critique, capitalism is defined by the commodity form, as a relationship of economic equivalence that replaces the bonds of dependence underlying other social formations. By negating relations of kinship and caste, capitalism reveals, a contrario, the universal foundation of other societies. As the “negative of all social formations,” capitalism conditions a (...) universal history, defined, retrospectively, from the singular standpoint of a society, based upon the negation of kinship and caste. In this universal history, moreover, the negation of capitalism is identified with the possibility of a new and equally singular form of society. In Anti-Oedipus, the latter is defined as a “schizophrenic” condition liberated from the commodity as well as from the bonds of dependence that constituted the universal foundation of earlier societies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 3-10 [Access article in PDF] Can Immanence Explain Social Struggles? Ernesto Laclau Michael Hardt and Antonio Negri. Empire. Cambridge, MA: Harvard UP, 2000. In a recent interview 1 Jacques Rancière opposes his notion of "people" (peuple) 2 to the category of "multitude" as presented by the authors of Empire. As is well known, Rancière differentiates between police and politics, the first being the logic of (...) counting and assigning the population to differential places, and the second the subversion of that differentiating logic through the constitution of an egalitarian discourse which puts into question established identities. "The people" is the specific subject of politics, and this term presupposes a sharp division in the social body which cannot be led back to any kind of immanent unity. Empire, on the contrary, makes immanence its central category and the ultimate ground of the multitude's unity.The main lines of Rancière's critique provide a good starting point for what we have to say about the book. The immanentism of Hardt and Negri would be linked, according to Rancière, to their Nietzschean/Deleuzian ethics of affirmation, which does away with any reactive or negative dimension. Empire would belong, in that respect, to the whole tradition of modern political philosophy, which is profoundly metapolitical: "the kernel of metapolitics is to lead back the precarious artifices of the political scene to the truth of an immanent power which organizes beings in a community and identifies the true community with the grasped and sensible operation of this truth" ["Peuple ou multitudes" 96]. From Hardt and Negri's rejection of any inherent negativity in political subjects, it follows that the power inherent in the multitude has to be a disruptive power, "lodged in all states of domination as its ultimate content, a content destined to destroy all barriers. 'Multitudes' have to be a content whose continent is Empire" ["Peuple ou multitudes" 97]. Disruptive forces operating through a purely immanent movement are what Marxist theory called "productive forces," and there would be, according to Rancière, a strict homology between the place of productive forces and that in which multitudes, as described in Empire, act. Rancière points out that productive forces should not necessarily be understood in any narrow productivist sense: there has been a constant widening of the concept from the strict economism of classical Marxism, to the recent attempts to introduce in it the ensemble of scientific and intellectual abilities, passing through the Leninist attempt to supplement via political intervention a role that productive forces refused to fulfill.I think that Rancière has rightly stressed what I see as the main source of several weaknesses of Empire, including a central one: that within its theoretical framework politics become unthinkable. So I will start from a discussion of its notion of immanence and move later to various other theoretical and political aspects of the book. [End Page 3]Let us start with the authors' discussion of the origins of European modernity. While the usual insistence is on the secularization process, that process would be, "in our view... only a symptom of the primary event of modernity: the affirmation of the powers of this world, the discovery of the plane of immanence. 'Omne ens habet aliquod esse proprium'—every entity has a singular essence. Duns Scotus' affirmation subverts the medieval conception of being as an object of analogical, and thus dualistic predication—a being with one foot in this world and one in a transcendent realm" [Empire 71]. Duns Scotus's insistence on the singularity of being would have initiated an assertion of immanence that the authors describe as a process whose representative names would have been Nicholas of Cusa, Pico della Mirandola, and Bovillus—other names quoted are Bacon and Occam—and whose point of arrival is Spinoza. "By the time we arrive at Spinoza, in fact, the horizon of immanence and the horizon of the democratic political order coincide completely. The plane of immanence is the one on which the powers of singularity are realized and the one on which the truth of the new... (shrink)

The concept of “interlocking systems of oppression”—a precursor to “intersectionality”— was introduced in a social movement context by the Combahee River Collective (CRC) in pamphlet form in 1977. Addressing Black lesbians’ and feminists’ experiences of invisibility within white male-dominated New Left and socialist politics, male-dominated civil rights, Black nationalist, and Black radical organizing, and white-dominated women’s liberation and lesbian feminist movements, the CRC argues for an “integrated analysis and practice” of struggle against “racial, sexual, heterosexual and class oppression” (CRC (...) 1977/1981/1983, 210). I argue the CRC articulates and problematizes sexuality as a category of analysis from a “queer” subject position which avows racialized lesbian visibility and resists the tendency to “heterosexualize” women of color feminisms. I delineate three aspects of the concept of “interlocking systems of oppression”: its attentiveness to the phenomenological simultaneity of multiple oppressions; its synthesis of identity politics and coalition politics; its immanent critique of socialist concepts of class and class struggle. While some accounts of “intersectionality”—the now-predominant way of referencing the multiplicity of identities and oppressions—tend to reproduce a race-gender dyad (or a race-gender-class triad), the CRC notably articulates sexuality as a category of analysis from a “queer” subject position which avows lesbian visibility and thereby enables contemporary readers to resist the tendency to “heterosexualise” intersectionality—and women of colour feminisms more generally. (shrink)

With his concept of the social unconscious, Erich Fromm showed that the reproduction of social ideologies depends on the suppression of specific social contradictions. Fromm’s concept represents an extension of Freud’s individual-based approach to the unconscious combined with a Marxist-influenced critique of society. In this paper, I will argue that Fromm’s concept of the social unconscious is not only an indispensable component of an emancipative social critique. Furthermore, I will argue that it is through Fromm’s (...) concept that the productive relationship between philosophy, in the sense of an ethical-political social critique, and psychoanalysis becomes fully apparent. (shrink)

In this collection of previously published essays, Sally Haslanger draws on insights from feminist and critical race theory and on the resources of contemporary analytic philosophy to develop the idea that gender and race are positions ...

It is the avowed aim of Avineri’s study to "bring out the ambivalent indebtedness of Marx to the Hegelian tradition." This aim determines the central place of Marx’s concept of man in his discussion; for it was from Hegel and the young Hegelians that Marx drew the anthropological problematic which dominates his early writings. The Hegelian concept of Geist served the young Hegelians as the model for a philosophical conception of man, as a being exhibiting the unique dignity of his (...) rational nature in a historical process through which he attains to freedom and self-knowledge. Carrying this aim out with the greatest clarity and completeness was Feuerbach, who, applying to Hegelian philosophy what Avineri calls his "transformative method," attempted to interpret Hegel’s "Spirit" and the speculative concepts through which it knows itself as false inversions of the self-consciousness of man as a natural, sensuous being. It was this method, applied to Hegel’s political philosophy, which resulted in what Avineri describes as "Marx’s first systematic work," the 1843 critique of Hegel’s Philosophy of Right. A full chapter of Avineri’s book is devoted to this "most systematic of [Marx’s] writings on political theory." Avineri views the work as an immanent critique of Hegel’s philosophy of the state, focusing on Hegel’s failure adequately to comprehend the rationality of the actual. The cause of this failure was Hegel’s hypostatization of abstractions as the subjects of the social process; Marx’s application of the "transformative method" was an attempt to understand the specific character of the real human subjects who are the actual foundation of these speculative constructions. Avineri traces in detail the manner in which Marx confronts the speculative functions assigned by Hegel to monarchy, civil estates, and the state bureaucracy with the social realities represented by these speculative categories. Marx argues that the supposed universality of the state is an illusion, mystifying the social practice of modern society and confirmed by Hegel’s philosophical speculation. In fact, he argues, the "universal" interests of the state are only expressions of private interests in what Hegel called the sphere of "civil society," the realm of production and exchange. It is the relationships of men in this sphere which in Marx’s view constitute the true foundation for the rationality of the actual, and it was Hegel’s speculative inversion of the relationship of civil society and the state which was responsible for his failure to grasp this rationality. Marx’s stress on the sphere of civil society as the foundation for political life, the priority of man’s productive life over all other social relationships, is the characteristic Marxian form of the young Hegelian conversion of a speculative science of spirit into a philosophy of man. It was this priority, which Marx later referred to as the "universal result" of his early research, which continued to guide his later studies. Avineri proceeds to take up this theme in a chapter appropriately titled "Homo Faber.". (shrink)

Critical social theory is a late product of the Enlightenment, though pushed beyond its original intentions. It then developed mainly with Marxism, but since the beginning other strands have been important, such as anarchism, feminism, anti-colonialism, anti-racism and environmentalism. The immanent critique of modernity must be seen indeed as ecumenical. In its plurality, it must have however at its core the realisation of equal freedom and full solidarity that remains an unfulfilled promise and offers a criterion of demarcation (...) for critical theory. The diagnosis of the times for critical approaches also depended on identifying long-term developments, especially within Marxism, but this seems to have been almost entirely forgotten. I will argue that it is both possible and necessary to resume this strategy. Finally, I ask how we connect these conceptual issues to praxis. The article concludes with a more substantive discussion of political modernity. (shrink)

This article explores the possibility of a notion of left-wing populism that is conceptually opposed to the identitarian logic of embodiment that characterises right-populist interpellations of ‘th...