Theodor W. Adorno is best known for his contributions to aesthetics and social theory. Critics have always complained about the lack of a practical, political or ethical dimension to Adorno's philosophy. In this highly original contribution to the literature on Adorno, J. M. Bernstein offers the first attempt in any language to provide an account of the ethical theory latent in Adorno's writings. Bernstein relates Adorno's ethics to major trends in contemporary moral philosophy. He analyses the full range of Adorno's (...) major works, with a special focus on Dialectic of Enlightenment, Minima Moralia and Negative Dialectics. In developing his account Bernstein lays particular stress on Adorno's contention that the event of Auschwitz demands a new categorical imperative. This book will be widely acknowledged as the standard work on Adorno's ethics and as such will interest professionals and students of philosophy, political theory, sociology, history of ideas, art history and music. (shrink)

Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has (...) happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts. (shrink)

In this unflinching look at the experience of suffering and one of its greatest manifestations—torture—J.M. Bernstein critiques the repressions of traditional moral theory, showing that our morals are not immutable ideals but fragile constructions that depend on our experience of suffering itself. Morals, Bernstein argues, not only guide our conduct but also express the depth of mutual dependence that we share as vulnerable and injurable individuals. Beginning with the attempts to abolish torture in the eighteenth century, and then sensitively examining (...) what is suffered in torture and related transgressions, such as rape, Bernstein elaborates a powerful new conception of moral injury. Crucially, he shows, moral injury always involves an injury to the status of an individual as a person—it is a violent assault against his or her dignity. Elaborating on this critical element of moral injury, he demonstrates that the mutual recognitions of trust form the invisible substance of our moral lives, that dignity is a fragile social possession, and that the perspective of ourselves as potential victims is an ineliminable feature of everyday moral experience. (shrink)

Aesthetic alienation may be described as the paradoxical relationship whereby art and truth have come to be divorced from one another while nonetheless remaining entwined. J. M. Bernstein not only finds the separation of art and truth problematic, but also contends that we continue to experience art as sensuous and particular, thus complicating and challenging the cultural self-understanding of modernity. Bernstein focuses on the work of four key philosophers—Kant, Heidegger, Derrida, and Adorno—and provides powerful new interpretations of their views. Bernstein (...) shows how each of the three post-Kantian aesthetics to construct a philosophical language that can criticize and displace the categorical assumption of modernity. He also examines in detail their responses to questions concerning the relations among art, philosophy, and politics in modern societies. (shrink)

Jurgen Habermas' construction of a critical social theory of society grounded in communicative reason is one of the very few real philosophical inventions of recent times that demands and repays extended engagement. In this elaborate and sympathetic study which places Habermas' project in the context of critical theory as a whole past and future, J. M. Bernstein argues that despite its undoubted achievements, it contributes to the very problems of ethical dislocation and meaninglessness it aims to diagnose and remedy. Bernstein (...) further argues that the precise character of the failures of Habermas' program demonstrate the necessity for a return to the first generation critical theory of Adorno. Reading across nearly the whole range of Habermas' corpus, Recovering Ethical Life traces the development of the theory of communicative reason from its inception in Knowledge and Human Interests through its elaboration in The Theory of Communicative Action and into its defense against postmodernism in The Philosophical Discourse of Modernity . In separate chapters Habermas' readings of Freud, Durkheim amd Mead, Adorno and Foucault, Castoriadis and Taylor are critically examined. The focus of Bernstein's analyses, however, is always problem centered and thematic rather than textual psychoanalytic theory as an account of self knowledge, the competing claims of ethical identity and moral reason, the place of judgment in practical reason, and the debate between philosophies of language based communities versus those oriented towards world-disclosure. Critical theory is unique among current philosophies in engaging with the problems of social injustice and nihilism by siding with an abstract moral reason that forfeits the processes of intersubjective recognition it intended to salvage. Even in the fine grain of Habermas' account of performative contradictions and the theory of discourses of application, Bernstein perceives a squandering of the resources of an ethical life in need of transfiguration. (shrink)

It is the persistence of social suffering in a world in which it could be eliminated that for Adorno is the source of the need for critical reflection, for philosophy. Philosophy continues and gains its cultural place because an as yet unbridgeable abyss separates the social potential for the relief of unnecessary human suffering and its emphatic continuance. Philosophy now is the culturally bound repository for the systematic acknowledgement and articulation of the meaning of the expanse of human suffering within (...) technologically advanced societies that are already committed to liberal ideals of freedom and equality. (shrink)

Arguably, the most promising and compelling route to demonstrating the significance of Hegel’s thought to contemporary philosophy has been the series of recent readings that construe Hegel as continuing and completing Kant’s Copernican turn. Paul Redding explicitly locates his interpretation within this program, seeing the hermeneutic dimension of Hegel’s thought as providing for the possibility of continuing the Kantian project. Kant’s Copernican turn can be loosely stated as the procedure of reflectively uncovering unexperienced conditions of experience that contribute to the (...) nature of experience in ways that require its further re-determination and re-description. What a hemeneutic take on this reflective procedure adds is that foremost among those conditions are contexts of intersubjective or dialogical relations—structures of recognition. While perhaps disappointing to anyone interested in the problem of textual interpretation, there is finally nothing more to Redding’s account of Hegel’s “hermeneutics” than the establishing of recognitive structures as forming the ultimate horizon of human experience. I take Redding’s relentless tracking of the problem of recognition to be one of his book’s virtues. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from its (...) still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

[This is a revised and expanded version of an article of the same name published in the Journal of the British Society for Phenomenology, October 2000: 31(3), 277–299.].

Arguably, there is no gesture more typical to philosophy than its repudiation, the sense that philosophical endeavor is a symptom of the pathologies or dislocations of everyday life it seeks to remedy. Throughout the nineteenth century—in the writings of the German Romantics, Young Hegelians, Marx, Kierkegaard, and Nietzsche—the repudiation of philosophy is a constant. Sometimes this repudiation takes a reflective form in which traditional philosophical claims are translated into another vocabulary, or are deflated ; sometimes alternative methods are adopted that (...) attempt to undermine, explain away, what is thought of as uniquely philosophical; sometimes rhetorical strategies are adopted that aim to bring about a “conversion” in the reader away from philosophy and toward a more fully immanent or existential self-understanding; and sometimes that more everyday self-understanding that is to be the antidote to philosophical reflection is construed as not yet available but would come to be in an ideal or utopian future if particular radical transformations of current practices were accomplished. Apart from Kierkegaard, these attempts typically construe themselves as continuous with the critique of religion, as if philosophy were nothing but religious excess in rational dress, and thus continuous with modernity’s drive toward secularity. Because the stakes of repudiation are inevitably normative—the protest against philosophy for the sake of a more “realistic,” more truly natural or historical, conception of what is rational or good—the critique of philosophy becomes, despite itself, philosophical, burdened with presuppositions it can neither sustain nor forgo. In brief, this is the lesson of Daniel Brudney’s meticulous and patient excavation of the writings of the young Marx. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from its (...) still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

This essay originated as a reply to Richard Rorty's ”Habermas, Derrida, and the Functions of Philosophy“. In it, I contest Rorty's deployment of the categories of private selfcreation and the collective political enterprise of increasing freedom, first developed in Contingency, Irony and Solidarity, to demonstrate that the philosophical projects of Habermas and Derrida are complementary rather than antagonistic. The focus of my critique is two-fold: firstly, I contend that so-called critiques of metaphysics are always simutaneously engaging with some form of (...) social domination or disintegration (e.g. nihilism or societal rationalization); secondly, I argue that the fault-line in Rorty's thought that structures his categories is his, Davidson inspired, naturalized philosophy of language. This philosophy of language falls afoul of Heidegger's analysis of the present-to-hand. (shrink)

Deleuze's philosophy of cinema departs from the standard conception of modernist aesthetics that sees art withdrawing from representation in order to reflect upon the specificity of its medium. While ambitious and influential, Deleuze's attempt fails. Overdetermined by its own metaphysics, it forsakes the real importance of the movies. It is unable to explain how they function and why they matter. This essay pursues three lines of criticism: Deleuze cannot account for the aesthetic specificity of cinema because he deposes the primacy (...) of action in the movement-image in favour of the primacy of belief. This failure is connected to the fact that a cinema of the virtual depends on the very Bazinian realism it is meant to displace. Realism must be acknowledged as the cinematic condition and truth of virtuality. Further, Bazinian realism is the cinematic form of philosophical modernism, preferable for many reasons to Deleuze's philosophy, which returns to pre-modern cosmology in its desire to escape the agent-based, anti-metaphysical commitments of modernism. I apply these criticisms to my analysis of Resnais's Hiroshima mon amour, a movie that prima facie looks made to fulfil the terms of Deleuze's theory but which I argue is an object lesson in realism. (shrink)

The goal of Hegel's Phenomenology of Spirit is to achieve absolute knowing. Minimally, knowing can be absolute only if it is unconditioned or unlimited; that is, only if it is not essentially contrasted with some other possible knowing—say, God's—or is not restricted such that it necessarily does not pertain to certain items—say, freedom of the will, the immortality of the soul, or God. Knowing can be absolute only if these items, appropriately interpreted, are within its scope. However, if it can (...) be shown that human knowing is not limited or restricted in either of these two ways, it would then follow that we cannot contrast our conceptual scheme—human knowing as such—with the world, and, hence, we cannot even notionally contrast human knowledge of appearances with things in themselves. Initially, it is in this quite narrow sense that Hegel's project in the Phenomenology is to transform Kant's subjective or limited idealism into objective or absolute idealism by showing that items Kant took to be necessarily extrinsic to human knowing are intrinsic and constitutive of it. Thus, if we were to translate Hegel's dictum that the ground of science in general is "pure self-recognition in absolute otherness" back into Kant's lexicon, it would state that we achieve full apperceptive self-awareness, full categorial selfawareness of ourselves as knowers, only in the thing in itself. Within Hegel's own system, achieving the standpoint of absolute knowing is a necessary condition for doing logical science, and, by implication, the first part of the system as a whole, because only by demonstrating that the necessary conditions of human knowing cannot, even notionally, be contrasted with the world in itself is it possible to then work out a system of logical categories that are simultaneously categories of thought and categories of being. (shrink)

Adorno contends that something of what we think of knowing and rational agency operate in ways that obscure and deform unique, singular presentations by relegating them to survival-driven interests and needs; hence, in accordance with the presumptions of transcendental idealism, we have come to mistake what are, in effect, historically contingent, species-subjective ways of viewing the world for an objective understanding of the world. And further, this interested understanding of the world is deforming in a more radical way than just (...) obscuring what is there for the sake of interested needs and purposes; these instrumental ways of knowing and acting, are broadly self-interested, in the interest of survival, without effective concern for the well-being and worth of others; by becoming generalized and exclusive, hegemonic, by driving out modes of encountering things and persons that support their differences and independence, their needs and interests, these instrumental practices are the deepest cause of t. (shrink)

According to Robert Pippin, the standpoint of philosophical modernism claims that, with the coming of modernity—with the emergence of a disenchanted natural world as projected by modern science, a political language of rights and equality, a secular morality, a burgeoning sense of subjective consciousness, and autonomous art—the task of philosophy becomes that of providing a wholly critical and radically self-reflexive conception of reason and rationality that will demonstrate the immanent ground for our allegiance to these new ways of being in (...) the world. Or better, what these distinctly modern forms of practice evince is an ideal of human freedom or autonomy in which the worth of our pursuits is dependent upon their being self-legislated or self-authorized; only these distinctly modern forms of practice can be self-legislated without a dogmatic residue, and only what can be so authorized is rationally deserving of our allegiance. What makes philosophical modernism a form of idealism is its radical self-reflexivity; nothing can “count as” a reason unless we so count it, unless we normatively authorize it. And what makes this version of idealism “Hegelian” is that, in place of Kant’s “I think,” which must accompany all my representations, there is a “we think” that must accompany all our fundamental practices; and in place of a transcendental deduction of the categories necessary for the possibility of experience, we are offered an historical narrative of the self-defeating character of the antecedents to modernity’s self-authorizing institutional forms. (shrink)

This volume offers the first English language collection of academic essays on the post-Holocaust thought of Jean Améry, a Jewish-Austrian-Belgian essayist, journalist and literary author. Comprehensive in scope and multi-disciplinary in orientation, contributors explore central aspects of Améry's philosophical and ethical position, including dignity, responsibility, resentment, and forgiveness.

Arguably, there is no gesture more typical to philosophy than its repudiation, the sense that philosophical endeavor is a symptom of the pathologies or dislocations of everyday life it seeks to remedy. Throughout the nineteenth century—in the writings of the German Romantics, Young Hegelians, Marx, Kierkegaard, and Nietzsche—the repudiation of philosophy is a constant. Sometimes this repudiation takes a reflective form in which traditional philosophical claims are translated into another vocabulary, or are deflated ; sometimes alternative methods are adopted that (...) attempt to undermine, explain away, what is thought of as uniquely philosophical; sometimes rhetorical strategies are adopted that aim to bring about a “conversion” in the reader away from philosophy and toward a more fully immanent or existential self-understanding; and sometimes that more everyday self-understanding that is to be the antidote to philosophical reflection is construed as not yet available but would come to be in an ideal or utopian future if particular radical transformations of current practices were accomplished. Apart from Kierkegaard, these attempts typically construe themselves as continuous with the critique of religion, as if philosophy were nothing but religious excess in rational dress, and thus continuous with modernity’s drive toward secularity. Because the stakes of repudiation are inevitably normative—the protest against philosophy for the sake of a more “realistic,” more truly natural or historical, conception of what is rational or good—the critique of philosophy becomes, despite itself, philosophical, burdened with presuppositions it can neither sustain nor forgo. In brief, this is the lesson of Daniel Brudney’s meticulous and patient excavation of the writings of the young Marx. (shrink)

Let me begin with a wisp of political history. According to the Earl of Clarendon, in 1639 the king’s “three kingdoms [were] flourishing in entire peace and universal plenty.”1 Yet by 1642 civil war had broken out, and in 1649 the king was beheaded. What had caused this breakdown of civil and political order, a breakdown that was not localized in England but, in fact, rife throughout Europe—1648 like 1848 was a year of revolutions? Clarendon himself is less than acute (...) on the matter, opting generally for a conspiracy theory in which the traitorous plots of ill men were the cause of the rebellion. In his book Behemoth —whose title stands for the Long Parliament, which sat in session from 1640 until the surviving .. (shrink)

Because of his preoccupation with the formal aspects of music and literature, Theodor W. Adorno is often regarded as the most aesthetically oriented thinker of the Frankfurt School theorists. It is Adorno’s perceived commitment to aestheticism—the study of art for art’s sake and the study of art as a source of sensuous pleasure, rather than as a vehicle for culturally constructed morality or meaning—that many scholars have criticized as hostile to genuine, concrete, substantive political, social, and ethical engagement with the (...) arts. _Adorno and Ethics_—the first issue of _New German Critique_ to be published by Duke University Press—takes issue with Adorno’s critics. These essays reconsider Adorno’s unique brand of aestheticism, revealing a “politics of aestheticism” and exploring the political and ethical dimensions of his writings. One contributor links the ethical turn taken in Adorno criticism with related developments in American poetry and poetics. Another examines Adorno’s aphorism “Gold Assay” for the ways in which it anticipates one of his seminal works, _The Jargon of Authenticity_. Focusing on Auschwitz and the testimony of its survivors, one contributor explores the impact of the Holocaust on modern philosophy and reason, a relationship that he argues Adorno never specified. Another contributor considers the figure of the animal in the writings of Kant, Adorno, and Lévinas, exploring what it might mean to live, as Adorno suggests, as “a good animal.” _Contributors_. J. M. Bernstein, Detlev Claussen, Samir Gandesha, Alexander García Düttmann, Christina Gerhardt, Martin Jay, Robert Kaufman, Michael Marder, Gerhard Richter. (shrink)

What is the relation between philosophical categories and everyday experience? Can an effectively first-person account of an historical experience rise to the level of a philosophical argument? This essay argues that Jean Amery’s account of his sufferings under the Nazis intends to generate a justificatory argument, a transcendental deduction of sorts, for the category of ”resentment’ against its philosophical critics, most importantly, Nietzsche.