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

In this article I argue that Adorno makes an internal critique of instrumental reason. I depict Adorno's notion of instrumental reason by showing how he combines Freud's materialistic epistemology with his own German Idealist inheritance. I outline his argument for the decline of instrumental reason into mythic 'animism'. Key Words: Adorno • animism • enlightenment • Freud • instrumental reason • myth.

This article investigates the importance of the evolution of Adorno’s interpretation of Husserl for the formation of his own philosophy. The weakness of Husserl’ notion of immediate data is revealed within the light of Hans Cornelius’s Transcendentale Systematik . When Adorno discovers in his Habilitationsschrift the importance of the social setting and ideological function of theory, he departs from Cornelius’ transcendentalism as norm for his reflection - and this insight is deployed against Husserl. Henceforth, Husserl’s philosophy is interpreted as idealist, (...) as a prima philosophia , as a philosophy of identity and totality and ultimately in service of the totalitarian political tendencies Key Words: Theodor Adorno • Hans Cornelius • critical theory • first philosophy • Edmund Husserl • phenomenology • transcendental idealism. (shrink)

The paper provides a philosophical insight into the contemporary critical trends in the university life, and an outline of possible solutions based on the historical overview of an idea of university. The particular section is devoted to the depiction of situation in Slovakia. The author suggests that the creative reconstruction of academic practices is the key to the future of university.

A wave of recent studies attributes to Adorno, if not a full-fledged moral theory, at least an ethical model regarded to be adequate to the conditions of late modernity. The article argues that any attempt aimed at isolating an independent ethical domain out of Adorno’s philosophical writings is misguided. Adorno belongs to a tradition of thinkers - including Hegel, Marx, Kierkegaard, Nietzsche, Heidegger - who break away from the modern idea that the task of philosophy is to provide rational foundations (...) for the moral beliefs of individuals. Although it is true that Adorno’s work is scattered with innumerable moral considerations, the article suggests that these do not constitute the basis of a coherent moral system, but are to be understood within the context of Hegel’s philosophy of history retranslated in materialist terms. (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)

The importance of education: In conversation with Martin Heidegger and Hannah Arendt. The text is a lecture delivered in German at Augsburg University in 2018. Its aim was to share with German colleagues from the Faculty of Philosophy and Social Sciences the research whose effect was the publication of Hannah Arendt and Martin Heidegger. Philosophy, modernity and education. The thesis of this lecture is that Arendt’s answer to Heidegger’s philosophy, intelligible only within the wide context of both thinkers’ struggles with (...) the philosophical tradition of the West, also opens up a new horizon of conceptualizing the relationship between philosophy and education. This enterprise begins with a critical reconstruction of concepts that traditionally connected education to philosophy. Thereafter, it is a development of Arendt’s thesis of the broken thread of tradition, situated in the wider context of Heideggerian philosophy and his entanglement with Nazism, and consequently, it questions the traditional relationship between philosophy and education. In the final parts of this book returns the problem of dialogue between philosophy, thinking, and university education in times whose political and ethical framework is no longer determined by the continuity of tradition, but the caesura of 20th‑century totalitarianism. (shrink)

Many have been struck by Hannah Arendt’s remarks on loneliness in the concluding pages of The Origins of Totalitarianism, but very few have attempted to deal with the remarks in any systematic way. What is especially striking about this state of affairs is that the remarks are crucial to the account contained therein, as they betray a view of agency that undergirds the rest of the account. This article develops Arendt’s thinking on loneliness throughout her corpus, showing how loneliness is (...) connected to thoughtlessness. In so doing, the article also suggests a connection between Arendt’s notion of loneliness and Stanley Cavell’s notion of skepticism. This connection, it is argued, allows us not only fully to answer a question Arendt leaves unaddressed (the cause loneliness), but also allows us to see how we, as agents and users of language, are perpetually prone to loneliness. (shrink)

Philosophers within the discipline of the history of philosophy have long since demonstrated a preoccupation with the history of aesthetic ideas. However, not all aesthetic concepts in 19th- and 20th-century thought have been given an adequate analysis. One concept which, while attracting interest in literary theory debates, has rarely been mentioned in history of philosophy debates, is that of aura . The reason for the marginal role of aura in present debates is due no doubt to the difficult and sometimes (...) utterly obscure nature of Adorno's texts, which often veils their underlying philosophical content. Aura concept is important because it represents a still rather neglected strand of Adorno's Aesthetische Theorie , which has often been regarded as solely an avocation of the aesthetics of the ‘New’. This article offers an original and in-depth analysis of this key concept showing how significant it is to Adorno's overall project. Key Words: Theodor Adorno • aesthetics • aura • Walter Benjamin • distance • gaze • proximity • receptivity. (shrink)

Digital communication now pervades all spheres of life, creating new possibilities for commodification: personal data and communication are the new resources of surplus value. This in turn brings about a totally new category of threats to privacy. With recourse to the culture industry critique of early critical theory, this article seeks to challenge basic theoretical assumptions held within a liberal account of privacy. It draws the attention to the entanglement of technical and socio-economic transformations and aims at elaborating an alternative (...) framing which takes into account that privacy is not in the first place a pre-political space for individual freedom but a constituted sphere in which social power relations are reproduced in a particularly deceitful way. With recourse to positions of critical theory, this article revisits the conceptual ambiguity of liberation and oppression and looks to draft prospects for a socio-theoretical justification and critique of privacy, updated for the digital age. Following the tradition of critical theory, the argument focuses on (new) forms of domination in and by privacy. It aims to prepare the ground for a critique of the social’s increasing commodification as well as an idea of privacy understood as reflexive participation in social practices. (shrink)

https://revistes.uab.cat/enrahonar/article/view/v38-santana.

O artigo versa sobre o conceito mesmo da estética contemporânea a partir de dois autores que, embora provenientes de tradições filosóficas diversas, convergem quanto ao radical esgotamento do quadro teórico e artístico que sustentava a reflexão filosófica sobre a arte e à necessidade de reformá-lo: Adorno e Badiou. Em um esforço comparativo, portanto, apresentaremos o conceito, os desafios e as potencialidades da estética contemporânea em ambos os autores. Especial atenção será dada à função sistemática e arquitetônica da disciplina no quadro (...) mais amplo de sua filosofia, notadamente no que concerne à constelação formada pelos termos pensamento, arte e verdade. (shrink)

This paper critically evaluates what it identifies as ‘the institutional theory of freedom’ developed within recent neo-Hegelian philosophy. While acknowledging the gains made against the Kantian theory of autonomy as detachment it is argued that the institutional theory ultimately undermines the very meaning of practical agency. By tying agency to institutionally sustained recognition it effectively excludes the exercise of practical reason geared toward emancipation from a settled normative order. Adorno's notion of autonomy as resistance is enlisted to develop an account (...) of practical reason that is neither institutionally constrained nor without appropriate consideration of the historical location of the practical agent. (shrink)

The label ‘Frankfurt School’ became popular in the ‘positivism dispute’ in the mid-1960s, but this article shows that it is wrong to describe Jürgen Habermas as representing a ‘second generation’ of exponents of critical theory. His communication theory of society is intended not as a transformation of, but as an alternative to, the older tradition of thought represented by Adorno and Horkheimer. The novel and innovative character of Habermas’s approach is demonstrated in relation to three thematic complexes: (1) the public (...) sphere and language; (2) democracy and the constitutional state; and (3) system and lifeworld as categories for a theory of modernity. (shrink)

Adorno's first musical monograph, his book on Wagner, represents his most consistent effort to apply commodity analysis to one of the seminal oeuvres of cultural modernity. The notion of commodity character and the associated concept of phantasmagoria are to fulfil the function of mediation between the more narrowly conceived technical analysis of Wagner's music and the disclosure of its aesthetic-social substance, providing the ultimate social ground for their unity. This project, however, fails. Commodity analysis proves to be radically vague, incapable (...) of disclosing the historical specificity of the music dramas either in respect of the tradition of Vienna classicism, or the ensuing development of aesthetic modernism. At the same time its application is burdened by contradictions. Ultimately, Adorno's critical interpretation relapses into a form of ideology critique the simplifications of which he originally attempted to overcome. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

(2011). ‘What Is, Is More than It Is’: Adorno and Heidegger on the Priority of Possibility. International Journal of Philosophical Studies: Vol. 19, No. 1, pp. 31-57. doi: 10.1080/09672559.2011.539357.

This paper addresses the question of normativity in Hegel by examining the role of ‘undialectical’ resistance to dialectical development. Beginning with a general overview of dialectical normativity and what it might mean to be ‘undialectical,’ the focus then shifts to a privileged example in Hegel’s writings: Sophocles’ Antigone. The central claim of the paper is the following: The very contradictions that fuel dialectical normativity can also trap individuals within an obsolete actuality, without immediate hope of escape. Indeed, the irreducible dependence (...) of dialectical thinking upon the actions and decisions of individual consciousness expose it to the threat of continual stasis or regression. This ineliminable possibility of failure is what is here called the ‘undialectical’ moment of the dialectic, which Hegel understands rather as a negative condition of possibility of freedom and rationality. (shrink)

When Adorno refers to the concept of maturity (Mündigkeit), he generally means having the courage and the ability to use one’s own understanding independently of dominant heteronomous patterns of thought. This Kantian-sounding claim is essentially an exhortation: maturity demands self-liberation from heteronomy, i.e. autonomy. The problem, however, is that in spite of Adorno’s general endorsement of Kant’s definition of maturity, he ultimately rejects the corresponding Kantian definition of autonomy. Yet Adorno does not simply discard the Kantian concept of autonomy. On (...) the contrary, he will try to correct it by returning to it what it lacks, namely, intimacy or ‘live contact with the warmth of things’. In this gesture, he aims to restore to autonomy its ethical substance or lived ethical context, not as a mere supplement to the purity of duty, but rather as necessary to the very process of becoming mature. This article examines Adorno’s concept of maturity in the context of the dialectical relationship between autonomy and intimacy. (shrink)

This essay is concerned with the central issue of philosophical anthropology: the relation between nature and culture. Although Rousseau was the first thinker to introduce this topic within the modern discourse of philosophy and the cultural sciences, it has its origin in Diogenes the Cynic, who was a disciple of Socrates. In my essay I (1) historically introduce a few aspects of philosophical anthropology, (2) deal with the nature–culture exchange, as introduced in Kant, then I (3) relate this topic to (...) the Ancient Cynic Diogenes. Surprisingly, although we usually identify Critical Theory and Freudian psychoanalysis as theories that have shown that cultural progress should not be comprehended as a development from nature to culture, and that instead it should be conceived as a development from culture against (external as well as internal) nature, I show that Cynicism can be conceived as a vivid example within the history of our culture that reveals a double sense of repression and alienation, which is part of human civilization and mankind. (shrink)

This paper aims to question anew the popular and supposedly self-evident affirmation of education, in its modern incarnation as in its historical notion. The “naive” questions suggest that we have recently taken for granted that education ought to be for the masses, that it ought to be upbringing, and that it is better than ignorance. Drawing on the tradition that calls such an understanding of education into question, the author shows that the hidden costs of disregarding such reflection end up, (...) camouflaged and smuggled, taxing the current debates regarding generally accepted education strategies. The characteristic feeling of the currently accepted model of education being in chronic crisis is less a testament to an absence of alternative approaches than to a lack of thorough self-reflection. (shrink)

This article investigates the changing justifications of one of the hallmarks of orthodox psychoanalytic practice, the neutral and abstinent stance of the psychoanalyst, during the middle decades of the 20th century. To call attention to the shifting rationales behind a supposedly cold, detached style of treatment still today associated with psychoanalysis, explanations of the clinical utility of neutrality and abstinence by ‘classical’ psychoanalysts in the United States are contrasted with how intellectuals and cultural critics understood the significance of psychoanalytic abstinence. (...) As early as the 1930s, members of the Frankfurt School discussed the cultural and social implications of psychoanalytic practices. Only in the 1960s and 1970s, however, did psychoanalytic abstinence become a topic within broader intellectual debates about American social character and the burgeoning ‘therapy culture’ in the USA. The shift from professional and epistemological concerns to cultural and political ones is indicative of the changing appreciation of psychoanalysis as a clinical discipline: for psychoanalysts as well as cultural critics, I argue, changing social mores and the professional decline of psychoanalysis infused the image of the abstinent psychoanalyst with nostalgic longing, making it a symbol of resistance against a culture seen to be in decline. (shrink)

I argue that Theodor W. Adorno’s philosophy articulates a radical conception of hope. According to Lear, radical hope is ‘directed toward a future goodness that transcends the current ability to understand what it is’. Given Adorno’s claim that the current world is radically evil, and that we cannot know or even imagine what the good is, it is plausible that his conception of hope must be radical in this sense. I develop this argument through an analysis of Adorno’s engagement with (...) Kant’s conception of hope, Adorno’s references to hope and his critical diagnosis of a metaphysical need for hope. Having demonstrated that Adorno must reject both ordinary and Kantian hope, I examine why Adorno thinks that we still may have reasons for hope. I also show that Adorno’s conception of hope differs from Lear’s in one important respect. (shrink)

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

Horkheimer and Adorno make claims that imply a complete rejection of the idea of a universal history developed in classical German philosophy. Using Kant’s account of universal history, I argue that some features of the idea of a universal history can nevertheless be detected in the Dialectic of Enlightenment and some of Adorno’s remarks on freedom and history. This is done in connection with the kind of rational self-mastery that they associate with the story of Odysseus. Some claims made by (...) Adorno in particular will be shown to imply that this self-mastery is a necessary condition of a better, freer society, especially in relation to this society’s material conditions. On the other hand, certain essential features of the idea of a universal history are clearly absent in virtue of the ultimate contingency of events and states of affairs that Adorno seeks to preserve. I show that the absence of these features and the preservation of contingency are, in fact, the means of saving the notion of the possibility of progress which informs the idea of a universal history. (shrink)

Adorno’s ‘addendum’ names the experience by which socially constrained agents are jolted into resistance against their suffering. The impulse to action is simultaneously intra-mental and somatic, and thus forms the locus of a jointly conscious and bodily impetus to confronting the ideological and material forces that produce contemporary unfreedom. In this way the ‘addendum’ is a historically developing, indeterminate, yet inexhaustible glimmer of hope for both agents and theorists who make social suffering central to their critical analysis. This article explores (...) the structure of the addendum by unpacking its presentation first in Negative Dialectics and then by way of the one-sided and cautionary illustrations of Buridan’s ass and Hamlet in the History and Freedom lectures. While aesthetic, ideal, affect-centered and Freudian interpretations of the addendum have been developed, appreciating the somatic or bodily, the intra-mental or conscious, and the historicized accounts of nature and reason that Adorno weaves together to explain ever-present possibilities of resistance requires instead a non-reductive materialist and dialectical lens. (shrink)

ABSTRACT: Though Habermas explicitly rejected psychoanalysis as a model for a critical theory of society, it seems to have continued to shape his thought beyond the publication of Knowledge and Human Interests. The conceptual framework underlying his more recent social theory would also be indebted to the psychoanalytical paradigm. This thesis is developed through the idea of the pathology of society, which represents the cornerstone of a specifically critical theory of society. In his demonstration, the author establishes a structural relationship (...) between psychical and social organization, and between individual pathology and the diagnostic of modern societies. (shrink)

Adorno sees experience as intrinsically interpretative. As interpretation requires normative constraints, in order to guide and channel this interpretative engagement, this opens the question of how experience acquires its motivating criteria. If experience is from the first criterially structured, how are these criteria acquired? Moreover, as these criteria are acquired in isolation from experience – as they are the precondition of that experience – are these criteria sensitive to the particularity of the experiences they produce? In order to address these (...) questions, and the problems they threaten to create for Adorno’s epistemology, I look at Adorno’s theory of impulse and cognition. I argue that Adorno grounds the criterial structure of experience and reason in self-preservation. This provides both a motivation and a determining constraint on the criterial structure of experience. It is also a determining influence which is epistemically flexible and compatible with Adorno’s project of tracing .. (shrink)

O artigo procura situar a interpretação proposta por Theodor W. Adorno para a peça "Fim de partida", de Samuel Beckett, no contexto de sua concepção de autonomia da arte. Segundo a hipótese do trabalho, o conceito de autonomia subjaz ao diagnóstico histórico de Adorno a respeito do gênero dramático, o qual justifica sua leitura da peça como uma paródia do drama. O artigo busca mostrar os acertos dessa leitura perante a recepção inicial da peça, e também seus limites, uma vez (...) que resulta em uma abordagem da experiência teatral focada primordialmente na consideração do texto teatral, em detrimento da encenação. This article aims to situate the interpretation proposed by Theodor W. Adorno for Samuel Beckett’s play "Endgame" in the context of his conception of the autonomy of art. According to the hypothesis of this essay, the concept of autonomy underlies Adorno’s historic diagnostic about the dramatic genre, which justifies his analysis of the play as a parody of drama. The article seeks to demonstrate the successes of this reading in face of the play’s early reception, as well as its limitations, since it results in an approach to the theatrical experience primarily focused on regarding the theatrical text, at the expense of the staging. (shrink)

In the context of recent attempts to more adequately engage with Adorno’s approach to sociology and social theory, this article argues that such a project requires a more complete understanding of the philosophical basis of Adorno’s critical material perspective on knowledge and language. In particular, the interpretation of Adorno within sociology has been hampered by a fundamental misunderstanding regarding his methodology of critique and composition, which prioritizes the content of Adorno’s claims regarding sociology and social theory, over their rhetorical and (...) performative character. This character is identifiable in Adorno’s prose, and grasped through a close attention to his account of the negative dialectic. Using Bernstein’s articulation of the ‘complex concept’ as an analytical framework, and Adorno’s introduction to Durkheim as its material, the article argues that the inability to grasp the rhetorical character of Adorno’s critical interpretive approach prevents an understanding of his potential relevance for sociology and social theory. (shrink)

In a series of radio broadcasts, one of which is translated for the first time in this issue (pp. 21-34), Adorno and Becker claimed that modern education is profoundly inadequate. Their views on education draw heavily on Kant’s notion of Enlightenment as a process for the development of personal and social maturity and responsibility. As such, education cannot just be a training but must itself be a developmental process which takes into account not only social and political realities but also (...) the complex psychodynamics involved in learning. However, Adorno and Becker arrive at a position that is close to self-contradictory, unable to solve the paradox inherent in the idea of an education that is at once authoritative and non-conformist. This might arise from their failure to reflect on the nature of their own dialogue, and it is suggested that friendship offers the social model of a dynamic relationship of the type they sought to articulate. Despite the fact that the discussion took place in 1969, in a climate of educational debate radically different from today’s, their work raises issues and poses questions of the profoundest importance 30 years on. (shrink)

There is an obvious paradox in any attempt to map the topography of Paradise, for Paradise, theologians assure us, is outside of space as well as time. Yet mapping Paradise is what Dante's poem, the Paradiso, attempts to do. For the two preceding realms of the afterlife, hell and purgatory, Dante provides numerous finely articulated descriptions of rigorously ordered regions. And again for Paradise, the variegated states of the souls making up the spiritual order of the realm are expressed very (...) precisely by a topographical scheme, one in this case based on Ptolemy's system of the heavens. The seven planetary spheres are followed by the sphere of the fixed stars and the primum mobile, the whole finally bordering on the completely nonspatial heaven of the Empyrean. But this last “sphere” alone is Paradise in the full and strict sense. As Dante has Beatrice explain in canto 4.28–48, the whole poem attempts to describe this totally nonspatial order in terms of the array of the nine physical heavens as metaphorical correlatives for the successive degrees of beatitude experienced by the souls “in” the Empyrean. Paradise in this sense—as the Empyrean—is thus utopic, if any place is: it is literally “no place” at all. (shrink)

Adorno's saying that ‘art is the promise of happiness’ radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with (...) and throws into relief the antagonistic nature of society. The trouble is that this answer is flatly incompatible with Adorno's historicism and central components of his aesthetic modernism, including his critique of classicism, and his negativism. I propose a re-interpretation of Adorno's thesis that art is the promise of happiness that overcomes these difficulties. (shrink)

In this article, I engage in a criticism of Jean François Lyotard’s tropological approach to Judaism, arguing that his articulation of the “the jew” as figural projection serves to establish and rigidify a number of freighted binaries such as those between reason and myth, philosophy and theology, and modern and postmodern. In comparison, I posit Theodor Adorno’s approach to tropes of Judaism as one which encompasses Lyotard’s productive emphases on the role of forgetting in subject formation while loosening these same (...) binaries. (shrink)

This article discusses the problem of understanding in Adorno’s critical theory. It is argued that another rationale for the contingency of understanding is provided by Adorno, one that justifies understanding critical theory as disclosing critique. For Adorno, what is responsible for the contingency of understanding is not the local limitation of our knowledge and vocabulary, but the presupposition of understanding itself. In this article, two readings of this contingency of understanding are distinguished: an epistemo-critical one and an ideology-critical one. Finally, (...) the case is made for adopting the epistemo-critical view of the contingency of understanding in preference to the ideology-critical view - not least because it contains a normative impulse which goes beyond contextualism. (shrink)

According to a recent and prominent view, a ‘we-perspective’ arises out of a dyadic I-you relation involving a special form of reciprocity in which I relate to another as a you – as somebody who is also attending and addressing me. As important as this argument might be, one obvious limitation lies in that it typically applies to dyadic forms of ‘we’ which are bound to the here and now of face-to-face interactions between ‘ad hoc pairs of individuals’. Drawing inspiration (...) from Sartre’s Critique of Dialectical Reason and Freud’s Group Psychology and the Analysis of the Ego, I will argue that in order to trace a way out of this impasse, one needs to shift the theoretical focus from dyadic face-to-face (immediate) relations of reciprocity between I and You, self and other to ternary relations of ‘mediated reciprocity’ involving the figure and the functions of a third party (le tiers). (shrink)

Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music and (...) thus become part of the deeper levels of European compositional tradition. Musical meanings are becoming typical for the particular sectors of European musical culture, and may even become their emblem. It is even likely that the idioms cease to be seen as a complex musical structure in the process of reception and they become a plain composition material, singular units of musical language. Using the postmodern composition Apolloopera by Marek Piaček, we illustrate the in-depth reference platform of musical idioms and examine the role of idiomatic units in the structure of a postmodern piece. (shrink)