There is a perennial problem affecting Theodor W. Adorno’s philosophy: his theory seems to lack the resources to account for his normative claims. James Gordon Finlayson has offered an intriguing solution. He argues that within Adorno’s philosophy it is possible to access a kind of good that is suitable as a normative basis for his ethics: the good involved in the experiences of trying to have insights into the ineffable. In this paper, I show that this proposal is (...) unsuitable both (1) as a normative basis of Adorno’s ethics; and also (2) for explaining how it is possible for people to act according to this ethics. I outline an alternative solution that relies only on Adorno’s conception of the bad and defend it against objections. (shrink)

Can one both be an Aristotelian in ethics and a negativist, whereby the latter involves subscribing to the view that the good cannot be known in our social context but that ethical guidance is nonetheless possible in virtue of a pluralist conception of the bad? Moreover, is it possible to combine Aristotelianism with a thoroughly historical outlook? I have argued that such combinations are, indeed, possible, and that we can find an example of them in Adorno's work. In this (...) paper, I reply to three critics who cast doubt on this proposal. I also reply to other concerns they raise, regarding immanent critique, negativism, the role of social theory in Adorno's work, and the danger of being co-opted. I stress the holism of Adorno's position, and, amid some more deflationary moves, insist on the distinctiveness of the Aristotelian position that results. (shrink)

With his insightful and wide-ranging theory of recognition, Axel Honneth has decisively reshaped the Frankfurt School tradition of critical social theory. Combining insights from philosophy, sociology, psychology, history, political economy, and cultural critique, Honneth’s work proposes nothing less than an account of the moral infrastructure of human sociality and its relation to the perils and promise of contemporary social life. This book provides an accessible overview of Honneth’s main contributions across a variety of fields, assessing the strengths and weaknesses of (...) his thought. Christopher Zurn clearly explains Honneth’s multi-faceted theory of recognition and its relation to diverse topics: individual identity, morality, activist movements, progress, social pathologies, capitalism, justice, freedom, and critique. In so doing, he places Honneth’s theory in a broad intellectual context, encompassing classic social theorists such as Kant, Hegel, Marx, Freud, Dewey, Adorno and Habermas, as well as contemporary trends in social theory and political philosophy. Treating the full range of Honneth’s corpus, including his major new work on social freedom and democratic ethical life, this book is the most up-to-date guide available. _Axel Honneth_ will be invaluable to students and scholars working across the humanities and social sciences, as well as anyone seeking a clear guide to the work of one of the most influential theorists writing today. (shrink)

The viscerally Freudian elements of Adorno's use of the concept of mimesis interweave with readings of Kafka in which certain thoughts about childhood play an important role. The first section of this article links biological mimicry with critical theory and art: both mimic what they criticize, while also conserving a repressed and childlike mimetic relationship with otherness and sexual difference. Adorno criticizes both the civilized repression of the mimetic impulse and its subsequently distorted return, a dialectic neglected by (...) direct appeals to mimesis. Good art tries to extricate itself from these distortions. Conversely, the second section of this article explores Adorno's suggestion that fascistic psychology is a refuge for a twisted mimesis of mimesis, which gratifies the worst side of repressed nature while ideologically appealing to the best. Anti-Semitic humour shows how the fascist mimics his own aggressive fantasy of natural law, while secretly envying the closeness to nature he thinks he detects in other races. The final section uses Freud's theories on sympathetic and sadistic comedy to unpack Adorno's readings of Kafka and Mörike. Adorno's critical recuperation of mimetically childlike moments of ridiculousness in art clarifies his differentiation of the varieties of mimesis, as well as countering the gloomy stereotype of the humourless intellectual. But the black side of Adorno's use of laughter dialectically maintains his commitment to painfully remembering the victims of history. (shrink)

The idea of creaturely life has, in recent years, emerged as an important and illuminating category of literary and philosophical critique. In this paper I seek to contribute to this contemporary discourse by examining the references to the creaturely found in the writings of T.W. Adorno. Whilst much attention has been paid to Walter Benjamin’s reflections on creatureliness, Adorno, a thinker with whom Benjamin is often associated, has received comparatively little in this regard. I begin to redress this (...) lacuna by developing a reading of key passages of Dialectic of Enlightenment which orients itself towards Adorno’s remarks concerning the ‘inverse theology’ which he sees as grounding both his own, and Benjamin’s, thought. In placing theological core of Adorno’s philosophy in the foreground of my analysis, I argue that the notion of the creature, which I claim signifies a redemptive perspective on human existence, can be read as an important, if somewhat overlooked, concept in the normative framework of the Dialectic of Enlightenment. (shrink)

The article focuses on a chapter of the biography of Angela Davis which, unless mistaken, has not yet received due attention: the training and intellectual experience with her German professors, Herbert Marcuse and Theodor W. Adorno. From the philosophical studies in Frankfurt in the 1960s to the more recent reflections on movements such as Black Lives Matter, there seems to be a continuity in the way she approaches contemporary social reality, a démarche that draws its strength from the original (...) combination of two traditions of radical critical thinking: Frankfurtian and Afro-American. (shrink)

Contemporary Perspectives in Critical and Social Philosophy brings together a range of essays concerning ways of conceptualising modernities, subjectivities, and recognition. It highlights recent developments in German critical and social philosophy and includes essays by Martin Seel, Christoph Menke, Max Pensky, Andrew Bowie, and Karl Ameriks, and critical discussions of the works of Manfred Frank, Theodor Adorno and Axel Honneth.

This paper is basically a presentation of the tenets of Pierre Bourdieu’s philosophy in a language and level that can be easily understood by Filipino students and scholars of philosophy, cultural studies and Philippine studies. The discussion of Bourdieu’s philosophy revolves around 1) his concepts of habitus, field and symbolic violence; 2) his critique of television; 3) his theory of capitals; 4) some implications of his theory of capitals; and 5) his being public intellectual. The ultimate aim of this paper (...) is to suggest some aspects and dimensions of Philippine society and culture that can be analyzed using some of bourdieu’s thoughts as interpretive frameworks, as well as to challenge the said Filipino students and scholars of philosophy, cultural studies and Philippine studies to creatively and effectively appropriate such theories for the enrichment of the theoretical corpus of Philippine studies. This paper is part of a series of similar works done by one of the co-authors that dealt with Adorno, Schleiermacher and Dilthey, Heidegger, Gadamer and Bultmann, and Lyotard. (shrink)

Introducing Applied Ethics Edited by Brenda Almond, Blackwell, 1995. Pp. 375. ISBN 0-631-19389-8. 45.00 (hbk), 14.99 (pbk). Environmental Ethics Edited by Robert Elliot, Oxford University Press, 1995. Pp. 255. ISBN 9-19-875144-3. 9.95 (pbk) Medicine and Moral Reasoning Edited by K.W.M. Fulford, Grant Gillett and Janet Martin Soskice Cambridge University Press, 1994. Pp. 207. ISBN 0-521-45325-9 37.50 (hbk), 12.95 (pbk). Enlightenment and Religion. Rational Dissent in Eighteenth-century Britain Edited by Knud Haakonssen, Cambridge University Press, 1996. Pp. xii + 348. ISBN 0-521-56060-8. (...) 40.00. Dialettica, Arte e Societ : Saggio su Theodor W. Adorno By Giacomo Rinaldi, Quattroventi, Urbino, 1994. Pp. 205. L. 30,000. Relevance: Communication and Cognition, new revised edition, By Dan Sperber and Deirdre Wilson, Blackwell, 1995. Pp. 326. ISBN 0-631-19878-4. 15.99. Autobiographical Reflections By Eric Voegelin (Edited, with Introduction, by Ellis Sandoz), Louisiana State University Press, 1996. Pp. 131. ISBN 0807120766 $10.95. (shrink)

Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

Adorno develops critiques in parallel of the phenomenologies of G. W. F. Hegel and of Edmund Husserl. While respecting their differences, he rehearses conjoined objections to their accounts of philosophy, and of progress, of history, and of nature. Critical of Hegel’s idealist dialectics, and of Husserl’s transcendental idealism, Adorno also in his readings of their texts reveals a textual materiality of their philosophical enquiries, which provides material evidence in support of his critique. This essay seeks to reveal the (...) dynamic of this process, and show certain parallels with results supplied in the phenomenological enquiries of Michel Henry, and in the deconstructions of Jacques Derrida. If an epoch may still be captured in the concept, then the negative dialectical conceptuality developed by Adorno must capture a condition common to that epoch, and, in part, shared by other such thinkers. (shrink)

Adorno develops critiques in parallel of the phenomenologies of G. W. F. Hegel and of Edmund Husserl. While respecting their differences, he rehearses conjoined objections to their accounts of philosophy, and of progress, of history, and of nature. Critical of Hegel’s idealist dialectics, and of Husserl’s transcendental idealism, Adorno also in his readings of their texts reveals a textual materiality of their philosophical enquiries, which provides material evidence in support of his critique. This essay seeks to reveal the (...) dynamic of this process, and show certain parallels with results supplied in the phenomenological enquiries of Michel Henry, and in the deconstructions of Jacques Derrida. If an epoch may still be captured in the concept, then the negative dialectical conceptuality developed by Adorno must capture a condition common to that epoch, and, in part, shared by other such thinkers. (shrink)

In this article, I explore the relationship between the philosophy of Theodor Adorno and the Bilderverbot , or biblical Second Commandment against images. My starting point is J. F. Lyotard's construction of the melancholic sublime in his essay `What is the Postmodern?', which I argue he uses to critique Adorno's aesthetics, and, more generally, his position as a `modern' thinker. To prove that Lyotard had Adorno in mind when he constructed the category of the melancholic sublime, I (...) return to an earlier piece by Lyotard — `Adorno as the Devil' — which is a reading of Thomas Mann's Dr Faustus , in which Adorno is said to be one of the faces of the Devil. My argument is that Lyotard's understanding of Adorno is flawed because he does not recognize the distinctly Jewish, albeit secularized, character of his thought. I set out to challenge Lyotard by demonstrating the central importance that the Bilderverbot plays in Adorno's work, which should not be understood as melancholic because the Jewish Messianism associated with the Bilderverbot is profoundly future-oriented. In short, I argue that Lyotard's depiction of Adorno is flawed because he reads him as a Christian, while he should be approaching him as a secularized Jew. Key Words: Theodor Adorno • aesthetic theory • Dr Faustus • the image prohibition • Jewish thought • Jean-François Lyotard • Thomas Mann • Messianism • representation • the sublime. (shrink)

ABSTRACTIn this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming (...) to an end autonomously, owing to art's successful realization of its governing principle, Adorno by contrast sees art as coming to an end heteronomously. Art's narrative is forcibly broken off, rather than completed. Adorno's account, indebted to Hegel, of art's commitment both to autonomy and the realization of ‘spiritual needs’ is explored in order to clarify how, on Adorno's view, this has happened to art; and why, precisely, he believes art is coming to an end. (shrink)

This paper reevaluates Adorno’s theory of non-identity following from a critical examination of his reading of Hegel. The main discussion revolves around two theses central to both philosophers: 1. Conceptual thinking forms the centre of philosophical thought (identification). 2. Philosophical thought aspires to become everything (totality). The analysis of two distinct interpretations, one stricter and one more moderate, demonstrates that Adorno takes the hardline view. With the moderate view, however, not only do the limits of Hegelian philosophy become (...) more pronounced, they also reveal novel systematic connections with pivotal concepts inherent to Critical Theory – connections that have notably lacked substantial consideration within relevant research. (shrink)

This study examines how key figures in the German aesthetic tradition—Kant, Schelling, Friedrich Schlegel, Hegel, and Adorno—attempted to think through the powers and limits of art in post-Enlightenment modernity. The aesthetic speculations of these thinkers, Maharaj argues, provide the conceptual resources for a timely dialectical defense of “aesthetic agency”— art’s capacity to make available uniquely valuable modes of experience that escape the purview of Enlightenment scientific rationality. The book has two interrelated aims. First, it provides new interpretations of the (...) aesthetic philosophies of Kant, Schelling, Schlegel, Hegel, and Adorno by focusing on aspects of their thought that have been neglected or misunderstood in both Anglo-American and German scholarship. Second, it attempts to demonstrate that their subtle investigations into the nature and scope of aesthetic agency have far-reaching implications for contemporary discourse on the arts. (shrink)

El artículo expone la influencia de la teoría estética de Th. W. Adorno en la filosofía contemporánea o, más concretamente, en la obra del postestructuralista J. F. Lyotard. Se centra en una interpretación novedosa de cuatro conceptos fundamentales en ambos autores: el de crítica, la adhesión a una ética radical, la elección del panteón de los artistas preferidos por uno y otro y la defensa de ambos, frente a las estéticas sistemáticas y totales, de una estética micrológica. Palabras clave: (...) Teoría estética; Micrología; Crítica; Ética; Arte. (shrink)

Gostaria aqui de formular o programa mais geral, contido na Dialética Negativa de Adorno, a partir de algumas perspectivas histórico-filosóficas. Na primeira parte, procuro desenvolver a ideia de que a crítica de Adorno a Hegel, compreendida como um novo enlace entre dialética e ontologia, beneficia-se da interpretação proposta por Adorno de temas da filosofia kantiana. Em seguida, procuro mostrar como Adorno conecta sua reformulação da dialética a uma compreensão de linguagem fortemente devedora de estratégias genealógicas de (...) argumentação. (shrink)

The influence of the thought of the great German Idealist philosopher G.W.F Hegel on the thought of Theodor Adorno, the leading thinker of the first generation of the Frankfurt School, is unmistakeable, and has been the subject of much commentary. Much less discussed, however, is the influence of Hegel's prominent contemporary, F.W.J. Schelling. This article investigates the influence of Schelling on Adorno, and the sometimes striking parallels between fundamental motifs in the work of both thinkers. It argues that (...) Adorno's critique of Hegelian dialectics, his conception of the relation between nature and spirit, and his philosophy of history owe a considerable debt to Schelling. Furthermore, when adequately explicated, Schelling's position on a range of problems which confronted German Idealist philosophy often prove intrinsically preferable to those of Hegel. (shrink)

This celebrated work is the keystone of the thought of the Frankfurt School. It is a wide-ranging philosophical and psychological critique of the Western categories of reason and nature, from Homer to Nietzsche.

An intense and lively debate on literature and art between thinkers who became some of the great figures of twentieth-century philosophy and literature.

In this paper I want to do the following things. First I want to show that in the part of the Theaetetus where the relationship between knowledge and perception is examined, the concept of knowledge that is in question is very clearly characterized. We are left in no doubt as to what is to count as knowing. Secondly I want to unravel in some detail the case that Socrates puts on Protagoras’ behalf where he draws on what Protagoras actually wrote (...) (151 E-152C); as opposed to what he may have taught secretly to his pupils (152C-160D). Thirdly I wish to argue that if we let the dialogue speak for itself, it is manifest that this case put up on Protagoras’ behalf at 151 E-152C is not overthrown; it is not even shaken. (shrink)

In this paper I want to do the following things. First I want to show that in the part of the Theaetetus where the relationship between knowledge and perception is examined, the concept of knowledge that is in question is very clearly characterized. We are left in no doubt as to what is to count as knowing. Secondly I want to unravel in some detail the case that Socrates puts on Protagoras’ behalf where he draws on what Protagoras actually wrote (...) ; as opposed to what he may have taught secretly to his pupils. Thirdly I wish to argue that if we let the dialogue speak for itself, it is manifest that this case put up on Protagoras’ behalf at 151 E-152C is not overthrown; it is not even shaken.In that part of the dialogue where the question is under examination whether or not knowledge and perception are the same, Socrates uses an idealized concept of knowledge. That is, he restricts the use of the word by setting down what he will consider to be the essential characteristics of knowledge, the sufficient and necessary conditions of its being instantiated. An excellent piece of philosophical procedure. (shrink)

In einem Brief nennt Adorno die "Negative Dialektik" kurz nach ihrem Erscheinen unter seinen Schriften "das philosophische Hauptwerk, wenn ich so sagen darf“. Dieser herausgehobenen Bedeutung, die das Werk für Adorno hatte, entspricht nicht nur die lange Zeit, die er mit der Abfassung des Buchs beschäftigt war, sondern auch die lange Geschichte, die ihre zentralen Motive in seinem Denken haben. Philosophische Begriffsklärung, die Arbeit an "Begriff und Kategorien“ einer negativen Dialektik, versteht Adorno dabei als dialektischen Übergang in (...) inhaltliches Denken – und so betreibt er sie auch hier. Das hat Konsequenzen für die Form des kooperativen Kommentars, der in diesem Band versucht wird. Adornos "Negative Dialektik" zu kommentieren, kann nur in dem Bewußtsein der unüberbrückbaren Kluft gelingen, die den Kommentar von diesem Text trennt. (shrink)

The Ukrainian translation of the work of the German neo-Marxist philosopher Theodor Adorno "Education after Auschwitz" is dedicated to the 75th anniversary of the liberation of prisoners of the Nazi concentration camp Auschwitz. In this work, which Theodor Adorno read as a report on Hesse Radio on April 18, 1966, the previous theme of special importance – the cultivation of a new, anti-ideological education in post-totalitarian society as a means of humanistic educational influence on this society – was (...) continued. Adorno suggested that his listeners see as a humanistic need for a post-totalitarian society to spread in its cultural space through the education the each person's understanding of own guilt for the Auschwitz tragedy. According to the philosopher, in this way, it is possible to restore the civilization of the coexistence of man and society, and it will make it impossible to repeat the horrors of the Auschwitz concentration camp. Another factor that should prevent the return of Auschwitz crimes, Adorno called the presence of knowledge about the genesis of an authoritarian character, which is the socio-psychological cause of the suffering of innocent people. Having considered the socio-cultural and anthropological factors of the emergence of an authoritarian character, Adorno identified the undoubted psychological dependence of the bearers of a manipulative character on the authoritarian government. The origins of the authoritarian government German philosopher found in the current state of European culture as one that has lost the spiritual energy needed for its own transformation. In accordance with his basic philosophical and educational beliefs, Adorno postulated the new education as an anti-ideological enlightenment, as knowledge that educates primarily politically aware young citizens, as an effective means of preventing the return of authoritarian government and, consequently, the repetition of Auschwitz. (shrink)

Adorno's efforts to salvage the contemporaneity of Hegel's thought form part of his response to the increasingly tight net of social control in the aftermath of ...