THE TENSIONS OF CRITICAL THEORY: IS NEGATIVE DIALECTICS ALL THERE IS?

2013 ◽  
pp. 114-143
Keyword(s):  
Critical Theory ◽  
Negative Dialectics

scholarly journals Kritische Anthropologie?

2016 ◽  
Vol 64 (4) ◽  
Author(s):  
Hans-Peter Krüger
Keyword(s):  
Critical Theory ◽  
Philosophical Anthropology ◽  
Modern Society ◽  
Human Condition ◽  
Philosophy Of Nature ◽  
Pluralistic Society ◽  
Complementary Relationship ◽  
Negative Dialectics ◽  
Critical Anthropology ◽  
Communicative Theory

AbstractThis article compares Max Horkheimer’s and Theodor W. Adorno’s foundation of the Frankfurt Critical Theory with Helmuth Plessner’s foundation of Philosophical Anthropology. While Horkheimer’s and Plessner’s paradigms are mutually incompatible, Adorno’s „negative dialectics“ and Plessner’s „negative anthropology“ (G. Gamm) can be seen as complementing one another. Jürgen Habermas at one point sketched a complementary relationship between his own publicly communicative theory of modern society and Plessner’s philosophy of nature and human expressivity, and though he then came to doubt this, he later reaffirmed it. Faced with the „life power“ in „high capitalism“ (Plessner), the ambitions for a public democracy in a pluralistic society have to be broadened from an argumentative focus (Habermas) to include the human condition and the expressive modes of our experience as essentially embodied persons. The article discusses some possible aspects of this complementarity under the title of a „critical anthropology“ (H. Schnädelbach).

Dialectics and Difference: Negative Dialectics as a Logic of Action

2019 ◽  
Vol 40 (3) ◽  
pp. 484-499
Author(s):  
Sergio Sevilla
Keyword(s):  
Critical Theory ◽  
Theory Of Action ◽  
Cultural Tradition ◽  
Philosophy Of Action ◽  
Contemporary Philosophy ◽  
Analytical Philosophy ◽  
Negative Dialectics ◽  
Logic Of Action ◽  
The Subject

AbstractThis paper argues that the different ways of facing Hegel's system, as an impossible attempt to harmonize tradition and openness to novelty, respond to an underlying malaise: that provoked by the disturbing question of “the actuality of philosophy” after Hegel. That question insistently arises with respect to different paradigms of contemporary philosophy, and is found in critical theory, in analytical philosophy of action, in Žižek's materialism, and in Derrida's deconstructive reading. Adorno's interpretation introduces the tension between universal concepts and laws, transmitted by the cultural tradition, and particular elements that the subject of the action must always take into account. As a consequence, the subject must include what is not reducible to a concept, which enables the construction of a language of experience that transcends the identifying thinking of the concept and makes negative dialectics possible as a theory of action.

Shelleyan Love

2019 ◽  
pp. 113-165
Author(s):  
Seth T. Reno
Keyword(s):  
Critical Theory ◽  
Negative Dialectics ◽  
Theodor Adorno ◽  
Prometheus Unbound ◽  
Religious Sensibility ◽  
Subject And Object ◽  
Scholarly Attention

In this chapter, I show that Percy Shelley picks up on the waning of intellectual love in Wordsworth, continuing to develop this Romantic tradition after Wordsworth moves on to a more religious sensibility. The chapter outlines the development of Percy Shelley’s treatment of love over the entire course of his career. I examine five ‘clusters’ of writings that reveal his adoption, adaption, and revision of Wordsworthian, Godwinian, and Classical notions of love: (1) his essay ‘On Love’ (1819) and its related texts; (2) Queen Mab (1813) and the Alastorvolume (1815); (3) a sequence of lyrics from 1816-1818; (4) the Prometheus Unbound volume (1820); and (5) Epipsychidion (1821) and later poems. Shelleyan love has received the most scholarly attention in studies of Romanticism, yet it is almost always within the contexts of sex, sexuality, and metaphor; instead, I argue that Shelleyan love can also be understood as an aesthetic model of interconnectedness proposing a nascent negative dialectics, a concept developed by Theodor Adorno that both defers and affirms the reconciliation of subject and object at the heart of critical theory and love.

‘Or any art at all?’: Frank Zappa meets critical theory

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 205-222
Author(s):  
DAVID WRAGG
Keyword(s):  
Critical Theory ◽  
Popular Music ◽  
Mass Culture ◽  
Special Section ◽  
Culture Industry ◽  
Crucial Point ◽  
Negative Dialectics ◽  
Paperback Edition ◽  
Dust Jacket ◽  
Point Of Reference

Back in 1982, Max Paddison suggested that Frank Zappa's 1960s' Mothers of Invention recordings deserved to be read in the context of Adorno's views on mass culture. Based on a ‘critical, self-reflective attitude’ (Paddison 1982, p. 216) towards their musical processes, as anticipated in Adorno's essay, ‘Music and technique’ of 1959, these records could be seen to mount an incisive critique of the ‘culture industry’. The title of a series of essays in Telos (Spring 1991), ‘Special Section on Musicology: popular music from Adorno to Zappa’, locates Zappa in a debate about Adorno's continuing relevance where theories of popular music are concerned. More recently, Ben Watson's Frank Zappa, The Negative Dialectics of Poodle Play (1994) uses a theoretical admixture of Marx and Freud in which Adorno looms large. (The dust jacket photograph of Watson mirrors the photograph of Adorno at Oxford in December 1935 which now adorns the 1997 paperback edition of Paddison's Adorno's Aesthetics of Music.) The influence of Adorno remains in Watson's later essay in The Frank Zappa Companion (1997), which takes Dada as a crucial point of reference. Central to all this remains the question of Zappa's identity and status as an avant-gardist, and it is this issue which concerns me here. I agree that the Mothers' albums, together with later work, can be made to represent a radical popular music. It's the word ‘represent’ that causes the problem.

Adorno, Theodor Wiesengrund (1903–69)

2018 ◽  
Author(s):  
J.M. Bernstein
Keyword(s):  
Political Economy ◽  
Critical Theory ◽  
First Generation ◽  
Social Research ◽  
New Work ◽  
Abstract Concept ◽  
Instrumental Reason ◽  
Negative Dialectics ◽  
Theodor Adorno ◽  
Identity Thinking

Philosopher, musicologist and social theorist, Theodor Adorno was the philosophical architect of the first generation of Critical Theory emanating from the Institute for Social Research in Frankfurt, Germany. Departing from the perspective of more orthodox Marxists, Adorno believed the twin dilemmas of modernity – injustice and nihilism – derived from the abstractive character of Enlightenment rationality. In consequence, he argued that the critique of political economy must give way to a critique of Enlightenment, instrumental reason. Identity thinking, as Adorno termed instrumental rationality, abstracts from the sensory, linguistic and social mediations which connect knowing subjects to objects known. In so doing, it represses what is contingent, sensuous and particular in persons and nature. Adorno’s method of negative dialectics was designed to rescue these elements from the claims of instrumental reason. Adorno conceded, however, that all this method could demonstrate was that an abstract concept did not exhaust its object. For a model of an alternative grammar of reason and cognition Adorno turned to the accomplishments of artistic modernism. There, where each new work tests and transforms the very idea of something being a work of art, Adorno saw a model for the kind of dynamic interdependence between mind and its objects that was required for a renewed conception of knowing and acting.

Adorno, Theodor Wiesengrund (1903–69)

2018 ◽  
Author(s):  
J.M. Bernstein
Keyword(s):  
Political Economy ◽  
Critical Theory ◽  
First Generation ◽  
Social Research ◽  
New Work ◽  
Abstract Concept ◽  
Instrumental Reason ◽  
Negative Dialectics ◽  
Theodor Adorno ◽  
Identity Thinking

Philosopher, musicologist and social theorist, Theodor Adorno was the philosophical architect of the first generation of Critical Theory emanating from the Institute for Social Research in Frankfurt, Germany. Departing from the perspective of more orthodox Marxists, Adorno believed the twin normative challenges of modernity – injustice and nihilism – derived from the abstractive character of Enlightenment rationality. In consequence, he argued that the critique of political economy must give way to a critique of Enlightenment, instrumental reason. Identity thinking, as Adorno termed instrumental rationality, abstracts from the sensory, linguistic and social mediations which connect knowing subjects to objects known. In so doing, it represses what is contingent, sensuous and particular in persons and nature. Adorno’s method of negative dialectics was designed to rescue these elements from the claims of instrumental reason. Adorno conceded, however, that all this method could demonstrate was that an abstract concept did not exhaust its object. For a model of an alternative grammar of reason and cognition Adorno turned to the accomplishments of artistic modernism. There, where each new work tests and transforms the very idea of something being a work of art, Adorno saw a model for the kind of dynamic interdependence between mind and its objects that was required for a renewed conception of knowing and acting.

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