Daughters of the Enlightenment: Reconstructing Adorno on Gender and Feminist Praxis

This article offers a reconstruction of Theodor Adorno's work as it concerns sex/gender and feminist praxis. Although the prevailing interpretation of Adorno's work conceptualizes its relationship to women as one of either exclusion or essentialism, I argue that both the reading of Sade's Juliette in Dialectic of Enlightenment, as well as a number of Adorno's aphorisms in Minima Moralia, present complex feminist claims and commitments. Max Horkheimer and Adorno position Juliette as a subject of the Enlightenment, forestalling the possibility that women qua women are potentially utopian figures. I utilize Adorno's work in Minima Moralia to show that he—far from excluding or essentializing women—was interested in metaphorically capturing the subjective conditions developed by a system of binary sex/gender within a heteropatriarchal society. Indeed, one can find an iteration of queer theoretical commitments in Minima Moralia. As a result, I argue that he displays a number of straightforwardly feminist commitments: that a liberated society requires the disambiguation of sex from gender, affirming the nonnaturalness of our social sex/gender regime, and claiming that all subjects as gendered subjects are damaged by living within a heteropatriarchal society. Lastly, I provide preliminary evidence of Adorno's critique of (neo)liberal feminist praxis.     

Horror,Fear, and the Sartrean Account of Emotions

Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean‐Paul Sartre's well‐known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, I highlight a novel reading of Sartre's account of the emotions: one that is both phenomenologically accurate and supported by textual evidence.     

Critique and resistance: Ethical,social‐theoretical,political? On Fabian Freyenhagen's Adorno's Practical Philosophy

Fabian Freyenhagen's impressive reconstruction of Adorno's ‘practical philosophy’ provides a convincing defence of the possibility of making normative claims about the social world we live in without justifying these claims in terms of the right, the good, or human nature. More specifically, and more controversially, Freyenhagen argues that the normative resources Adorno's critique relies on are provided by a negative Aristotelianism. In this paper, I argue that this approach underestimates the extent to which Adorno follows the model of immanent critique, I highlight the socio‐theoretical underpinnings of what Freyenhagen calls Adorno's ‘ethics of resistance’, and I discuss the risk of overstating the danger of co‐optation that collective political action faces.     

A Comedy We Believe In: A Further Look at Sartre's Theory of Emotions

This paper discusses recent interpretations of Jean‐Paul Sartre's early theory of emotions, in particular his Sketch for a Theory of the Emotions. Despite the great interest that Sartre's approach has generated, most interpretations assume that his approach fails because it appears to be focussed on ‘malformed’, ‘irrational’ or ‘distorted’ emotions. I argue that these criticisms adopt a rationalistic or epistemically biassed perspective on emotions that is wrongly applied to Sartre's text. In my defence of Sartre I show that the directional fit of emotions is not towards an evaluatively loaded world which is independently given and, at best, represented by emotions, but towards a world shaped through the impact of emotions themselves. Sartre's idea of emotions ‘magically transforming’ reality for the subject so that the latter is better able to cope with problematic aspects of practically relevant situations encapsulates the world‐shaping capacities of emotions, which are thus not reserved for a restricted class of emotions. Recognition of the transformative powers of emotions will also direct attention away from their seemingly representative elements to their normative and practical aspects and offer a new basis for delineating the criteria for judging them. The plausibility of this position is discussed with reference to some of Sartre's examples, such as fear, sadness and horror, but also with reference to Joan Didion's account of grief in The Year of Magical Thinking.     

Comments on Fabian Freyenhagen,Adorno's Practical Philosophy

In this paper, I offer some critical comments on Fabian Freyenhagen's book, Adorno's Practical Philosophy. Although I am largely in agreement with many of his arguments about the value of Adorno's negativism for contemporary critical theory, I raise a few critical questions that are grouped around the following three headings: immanent critique, objectivism, and skepticism. My primary aim in pursuing these questions is not to haggle over fine points of Adorno interpretation but rather to consider how these three issues bear systematically on the vision for critical theory that Freyenhagen has put forward.     

Concepts and Intuitions: Adorno After the Linguistic Turn

Adorno's conception of conceptually articulated experience can be defended and made fruitful for a critical philosophy after the so-called linguistic turn. The aim is both to answer the criticisms raised by Jürgen Habermas and others that Adorno's philosophy remains bound by the premises of a subject-centred philosophy, and to criticize social-pragmatism from the vantage-point of Adorno's philosophy of language. It is shown that Adorno is committed to a picture of experience very much in line with the recent views of John McDowell, which extends the space of reasons beyond the space of concepts. Further, it is shown that non-inferential justification can be combined with an expressivist picture of judgment. Finally, it is argued that what is called the extended space of reasons is ultimately social; that representation, the aboutness of thought, serves expressive roles in a socially articulated space of reason-giving. The advantage of Adorno's position vis-à-vis a one-sided social-pragmatism consists in his defence of what is called subjective-material proprieties of judgment. Adorno's idea that the extended space of reasons implies the acknowledgement of what he refers to as the non-identical within conceptually articulated experience is thus reconstructed and defended. Such non-identity, it is claimed, is exhibited in successful art-works which thereby ought to be counted as forms of reasoning. On this basis, Adorno's philosophy acquires critical and normative significance after the linguistic turn.     

Negative freedom or integrated domination? Adorno versus Honneth

According to Axel Honneth, Adorno's very idea of social critique is self‐defeating. It tries to account for what is wrong, deformed, or pathological without providing any positive yardstick. Honneth's idea of critique is a diagnosis of chronic dysfunctions in the relations of recognition upon which the society in question is grounded. Under such conditions of misrecognition, institutions that embody what he calls social freedom regress to negative freedom. However, such a deficit‐based notion of critique does not square with Honneth's own diagnosis of our present: namely, the transformation from welfare capitalism to neoliberalism. In fact, Honneth's diagnosis is very much in line with Adorno's idea of late capitalism as a society of “total integration.” Adorno's matching conception of critique, it is argued, avoids the problems Honneth runs into. At the basis of Adorno's critical idiom are two key points: an explanation of how social relations can be functional while contradictory and an account of social domination that is diffused throughout society while being differentially experienced by different classes. Adorno's answer to Honneth's concern, regarding the lack of a positive yardstick, is that it is domination that gives meaning to our idea of freedom, rather than the other way around.     

Reflections from a damaged discipline: Adorno,religious radio,and the critique of historical reason

The Psychological Techniques of Martin Luther Thomas' Radio Addresses (Adorno, 2000) echoes Adorno's analogous critique of the culture industry by detecting an ideological effect, prior to any given content, intrinsic to the form of radio religion. Notwithstanding the text's narrowness, I argue that Adorno's analysis of Thomas' ‘fait accompli technique’—presenting claims as previously established certainties—was both typical of his work and insightful for issues in cultural criticism. First, it refused subjectivist reductions of sociological effects to false consciousness. Second, it warned that historicism runs the risk of repeating the fait accompli when it treats what exists empirically as the only possible reality, or when it treats empirical givens as representatives of a future redemption. I argue that Adorno's dismissal of religious radio was consistent with his critique of positivism, and that the Thomas study models an historicist methodology that refuses, against its own logic, to reduce otherness to its own categories.     

The Artwork and the Promesse du Bonheur in Adorno

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.     

Adorno's Aristotle Critique and Ethical Naturalism

In this paper, I do three things. First, I unpack and outline an intriguing but neglected aspect of the thought of the Frankfurt School critical theorist Theodor W. Adorno—namely, his critique of Aristotle, which can be found in two of his lecture series: the unpublished 1956 lectures on moral philosophy and the 1965 lectures published as Metaphysics: Concept and Problems. Second, I demonstrate how Adorno's Aristotle critique constitutes a powerful critique of contemporary neo‐Aristotelian ethical naturalism, of the sort advocated by thinkers such as Philippa Foot, Michael Thompson and John McDowell. Third, I expound upon where this critique leaves the prospect of formulating a robust ethical naturalism more generally.     

‘The Zone of the Carcass and the Knacker'—On Adorno's Concern with the Suffering Body

Adorno's moral philosophy is famously problematic. One of the main reasons for this is that it revolves around the moral addendum: a physical impulse of solidarity with suffering beings that, he argues, cannot and should not be rationalized. I show that, since this moral addendum remains vague and since Adorno's radical negativity forces him to dismiss as uncritical all other approaches to morality, he deliberately places his thought in danger of relapsing into irrationality. Most commentators therefore disagree about the manner in which Adorno's references to the moral addendum can be translated into a moral theory. In this paper, I bring in some often overlooked material to form a more complete overview of the issues at hand and to adjudicate this contested area. I do this by briefly discussing Schopenhauer's moral observations on Mitleid and by focusing on Adorno's references to animal cruelty and corporeality. Although this interpretation stays close to Adorno's observations on the moral addendum, it forces us to accept that his moral philosophy is rather weak. I conclude, however, that this weakness reflects a disturbing aspect of reality and in that sense has critical value.     

Adorno on Kant,Freedom and Determinism

Abstract: In this paper I argue that Adorno's metacritique of freedom in Negative Dialectics and related texts remains fruitful today. I begin with some background on Adorno's conception of ‘metacritique’ and on Kant's conception of freedom, as I understand it. Next, I discuss Adorno's analysis of the experiential content of Kantian freedom, according to which Kant has reified the particular social experience of the early modern bourgeoisie in his conception of unconditioned freedom. Adorno argues against this conception of freedom and suggests that freedom is always conditioned by our embodiment and by our social and historical situation. Finally, I turn to Adorno's criticism of Kant's discussion of freedom and determinism in the Critique of Pure Reason and argue that while his philosophical argument against Kant fails, his metacritical argument remains suggestive. Scepticism about freedom arises when the standpoint of theoretical reason encroaches upon the standpoint of practical reason and assimilates persons to things.     

Intentionality: A Fundamental Idea of Husserl's Phenomenology

Simone de Beauvoir has written of the sense of excitement that marked Jean-Paul Sartre's first encounter with the thought of Husserl and Heidegger. Perhaps no work of Sartre's communicates this excitement, and the reason for it, quite so transparently as his brief 1939 essay on Husserl's notion of intentionality. Husserl here appears as a revolutionary, almost as a saviour, who has provided the necessary key for putting philosophy back in touch with the ordinary experience which both French realism and French idealism had vainly sought to characterize. Realism and idealism alike had been guilty in effect of a reduplication of things in consciousness, dependence on an often unexpressed correspondence theory which made mental surrogates for the real the only reality available to man. But if the present essay testifies to Sartre's attempt to return French thought to immediate contact with things, it enters into a fascinating dialectical tension with another of Sartre's chief motives—to purify immediate experience of its deceptions through a highly reflective, analytic mediation. The essay first appeared in Nouvelle Revue Francaise, LII, January 1939. (Tr.)     

Sartre and Ricoeur on Productive Imagination

Commenting on Jean‐Paul Sartre's theory of imagination, Paul Ricoeur argues that Sartre fails to address the productive nature of imaginative acts. According to Ricoeur, Sartre's examples show that he thinks of imagination in mimetic terms, neglecting its innovative and creative dimensions. Imagination, Ricoeur continues, manifests itself most clearly in fiction, wherein new meaning is created. By using fiction as the paradigm of imaginative activity, Ricoeur is able to argue against Sartre that the essence of imagination lies not in its ability to reproduce absent objects, but rather in the ability to transform reality through creative acts. Motivated by the intuition that Sartre the writer could not have forgotten to address such crucial dimensions of imagination, I examine Sartre's philosophical and literary work, showing that not only does he develop a notion of productive imagination, he also puts this notion to work by articulating the relationship between imagination, narrative, and identity formation, well before Ricoeur advanced his narrative‐identity theory. I argue that Sartre, like Ricoeur and MacIntyre, another representative of narrative‐theory whose criticism of Sartre I address in this essay, views imagination and narrativity as necessary conditions for the formation of a coherent and meaningful sense of self.     

Epistemically exploitative bullshit: A Sartrean account

This paper presents a novel conceptualization of a type of untruthful speech that is of eminent political relevance but has hitherto been unrecognized: epistemically exploitative bullshit (EEB). Speakers engaging in EEB are bullshitting: they deceive their addressee regarding their unconcern for the very difference between truth and falsity. At the same time, they exploit their discursive victims: they oblige their counterparts to perform unacknowledged and emotionally draining epistemic work to educate the speakers about the addressees' oppression, only to discredit their epistemic trustworthiness. I argue that EEB is irreducible to various recently discussed untruthful speech, and in particular to Frankfurtian bullshit, as well as to epistemic exploitation or other epistemic injustices. Taking inspiration from Sartre's analysis of anti-Semitic discourse, where bullshitting and epistemic exploitation are essentially interlinked, I instead suggest that recognizing the distinctiveness of EEB allows for a more refined conceptualization of these discursive phenomena. Specifically, I show how bad faith and the ensuing collective diffusion and delegation of epistemic responsibility play a so far neglected but key role here. I ultimately demonstrate that with Sartre's help, we can grasp how the existential, interpersonal and institutional dimensions involved in the negotiation of truth seamlessly intersect better than we would with the lens of analytic or critical epistemology alone.     

Sartre and Bergson: A Disagreement about Nothingness

Abstract

Henri Bergson's philosophy, which Sartre studied as a student, had a profound but largely neglected influence on his thinking. In this paper I focus on the new light that recognition of this influence throws on Sartre's central argument about the relationship between negation and nothingness in his Being and Nothingness. Sartre's argument is in part a response to Bergson's dismissive, eliminativist account of nothingness in Creative Evolution (1907): the objections to the concept of nothingness with which Sartre engages are precisely those raised by Bergson. Even if Sartre's account of nothingness in its entirety is found to be flawed, I argue that the points he makes specifically against Bergson are powerful.

My discussion concludes with a brief examination of the wider philosophical background to Sartre's and Bergson's discussion of nothingness: here I point to some important aspects of Sartre's early philosophy, including some features of his conception of nothingness, that may testify to Bergson's positive influence on his thought.     

The ethnocentric gaze: From ethnology to ethnophilosophy to “Africa”

In this essay I deploy Sartre's phenomenology of the gaze as the foil to demonstrate the cultural and philosophical movement from ethnology to ethnophilosophy that produces a specific conception of Africa. The violence of the Western gaze on Africa led several ethnological and anthropological excavations of Africa's cultural beingness, and the eventual creation of ethnophilosophical reason. Despite the obvious limitations of ethnophilosophy, I argue in this essay for a conception of cultural agency around which we can properly understand “Africa” as a meaningful site, a territorial imaginary that is far from the ethnophilosophical imagination, but not too far. Ethnophilosophy serves as the platform around which we can commence a reconstruction of an African self that is sufficiently recuperated, through false memory and historical reinvention, to return the gaze and renegotiate its freedom.     

Is Iris Murdoch a Closet Existentialist? Some Trouble with Vision,Choice and Exegesis

Abstract: Richard Moran argues that Iris Murdoch is an Existentialist who pretends not to be. His support for this view will be shown to depend on his attempt to assimilate Iris Murdoch's discussion of moral ‘vision’ in the parable of the Mother in Law to Sartre's thought on ‘choice’ and ‘orientation’. Discussing both Moran's Murdoch exegesis and Sartre's Being and Nothingness, I develop the Sartrean view to which Moran hopes to assimilate Murdoch, before pointing out how Moran's assimilation fails. Murdoch's thought that when M is just and loving she sees D ‘as she really is’ cannot be accommodated on Sartre's picture. I develop this point of disagreement between Murdoch and Sartre, and argue that Murdoch has not as Moran claims made a misattribution to Sartre of an unsituated will, but has instead offered a penetrating critique of the central theme of Sartre's epistemology.     

Hegel,Danto, Adorno,and the end and after of art

In 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.