By Espen Hammer
Publish yr note: First released in 2005
Interest in Theodor W. Adorno keeps to develop within the English-speaking global because the importance of his contribution to philosophy, social and cultural idea, in addition to aesthetics is more and more famous. Espen Hammer’s lucid publication is the 1st to correctly examine the political implications of his paintings, paying cautious awareness to Adorno’s paintings on key thinkers equivalent to Kant, Hegel and Benjamin.
Examining Adorno’s political reports and assessing his engagement with Marxist in addition to liberal concept, Hammer appears to be like on the improvement of Adorno’s inspiration as he confronts Fascism and glossy mass tradition. He then analyzes the political size of his philosophical and aesthetic theorizing. via addressing Jürgen Habermas’s influential criticisms, he defends Adorno as a theorist of autonomy, accountability and democratic plurality. He additionally discusses Adorno’s relevance to feminist and ecological considering. rather than those that see Adorno as somebody who relinquished the political, Hammer’s account exhibits his reflections to be, at the so much basic point, politically stimulated and deeply engaged.
This invigorating exploration of an incredible political philosopher is an invaluable advent to his concept as a complete, and should be of curiosity to students and scholars within the fields of philosophy, sociology, politics and aesthetics.
“Hammer is to be congratulated for offering a lucid and constant case for the importance of Adorno’s political suggestion, doing justice to its complexity whereas situating it inside of its particular historic context.” —Howard Caygill, collage of London
“Clearly written, well-structured ... it's a impressive success to have attained this point of readability a couple of subject that's this tough and obscure.” —Raymond Geuss, collage of Cambridge
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Extra info for Adorno and the Political (Thinking the Political)
16, 17) Hegel’s answer was that the other is overcome only ‘externally’. Now the answer is that ﬁnite mind is ‘one-sided’: the Idea apprehends itself in the form either of subjectivity (concept) or of objectivity (actuality), but not both together. ). The former absorbs external objects into the mind, while the latter projects the mind or the will into the external world: cf. §443, n. 3. Hegel’s point would then be that absolute mind gives equal weight to these two ‘moments’ or aspects: it combines theory and practice, proceeding both from world to mind and from mind to world.
In either case, the point is that looking on from the outside, we cannot yet see how mind transﬁgures nature. As philosophers, we have to show how mind emerges from nature: cf. §381, n. 3. 2. Mind is the truth of nature: mind achieves an agreement of the concept with its actuality, such as nature strives towards but never attains: cf. §379, n. 8 on truth. The Idea is the concept together with its actuality, but here its constituents are described as the ‘subject’ and the ‘object’, each of which is the ‘concept’.
3. On the ﬁrst opposition, Hegel implies that if the mind is a collection of independent forces, it can hardly be any more free than a similar collection of physical forces, each determining and determined by the others. (See also F. H. , Oxford: Oxford University Press, 1927) ). But he also means that the mind is both free and determined, and that the unilinear ‘intellect’ cannot accommodate this apparent incongruity. §382 considers freedom of the mind in more detail. On the second opposition, Hegel suggests that the soul is both free and intimately connected with the body—another incongruity that the ‘intellect’ cannot handle.