This paper follows the question of violence as a guide to exploring the link between the metaphysical, social, and political in Adorno’s thought. More specifically, I argue that violence, in the form of the exclusion, domination, and fungibility of life, marks the shared space of the metaphysical, material, and ethical for Adorno. Hence, this project contests the longstanding Habermas-inspired notion that there is something unclear in the way in which Adorno’s metaphysical and methodological critiques connect to his social and political (...) concerns—most specifically, his desire to address real suffering. In addition, this paper contributes to the growing interest in Adorno’s Marxism, showing that it is through his commitments to Marx that Adorno sees the real, material importance of his critique of metaphysics and ontology, as well as the possibility for resisting the forces of social domination.Cet article suit la question de la violence comme une guide pour explorer le lien entre la métaphysique, le social et le politique dans la pensée d’Adorno. Plus particulièrement, je soutiens que la violence, sous la forme de l’exclusion, la domination et la fongibilité de la vie, marque l’espace partagé de la métaphysique, du matériel et de l’éthique chez Adorno. Dès lors, ce projet remet en cause la notion de longue date inspirée par Habermas selon laquelle il y aurait quelque manque de clarté dans la manière dont les critiques métaphysiques et méthodologiques d’Adorno se relient avec ses soucis sociaux et politiques—plus spécifiquement son désir de s’occuper de la souffrance réelle. Par ailleurs, cette étude contribue à l’intérêt en plein essor au marxisme d’Adorno, montrant que c’est dans ses engagements avec Marx qu’Adorno voit l’importance réelle et matérielle de sa critique de la métaphysique et de l’ontologie, ainsi que la possibilité de résister aux forces de la domination sociale. (shrink)

This chapter describes motivations of Rust Cohle's pessimism in the first season of True Detective. On the one hand, Rust's pessimism is linked to the tragic death of his daughter, implying that a profound, personal tragedy made him a pessimist. On the other hand, Rust never appeals to this tragedy or any other personal experience to justify his belief in the meaninglessness of existence, arguing always that it comes from a rational evaluation of reality. In the season finale, Rust has (...) a near‐death experience that leads him away from pessimism and back to optimism. Central to this event is his experience of Sophia's love. Rust's feeling of Sophia's love would not be a turning away from philosophy but a turning toward philosophy or perhaps a turning toward a different notion of philosophy than the one found in rationalism or empiricism. (shrink)

BioShock Infinite begins with the question of “founding.” One enters Columbia for the first time on “Secession Day,” the anniversary of Columbia's secession from the United States in 1902, and the commemoration of the founding of Columbia as the “New Eden.” Racial difference is one of the major antagonisms in BioShock Infinite. BioShock Infinite exemplifies Carl Schmitt's concept of the political, as grounded on fundamental antagonisms that express the will of “the people” of Columbia. Sovereignty is the power to decide (...) what one will do outside of any rules or laws. The questions of decision and responsibility play a key role in the story and gameplay of BioShock Infinite. Players are forced to make a number of decisions throughout BioShock Infinite, without any way of knowing what the outcomes of these decisions will be. It turns out that none of these decisions has any real impact on the game. (shrink)

The Biopolitics of Punishment marks a new chapter in the long-standing debate between Jacques Derrida and Michel Foucault. The essays collected in this volume chart the undertheorized dialogue between the two philosophers on questions of life, death, punishment, power, and resistance.