/
Critical Theory What and Who? Critical Theory What and Who?

Critical Theory What and Who? - PowerPoint Presentation

tatiana-dople
tatiana-dople . @tatiana-dople
Follow
383 views
Uploaded On 2018-12-15

Critical Theory What and Who? - PPT Presentation

Interdisciplinary collaborations with a variety of fields including the social sciences literary and cultural studies and political theory toward the goal of radical social change First Generation Frankfurt School Institute for Social Research founded 1923 ID: 741438

theory social art modern social theory modern art historical world life form society individual enlightenment philosophy adorno culture political

Share:

Link:

Embed:

Download Presentation from below link

Download Presentation The PPT/PDF document "Critical Theory What and Who?" is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.


Presentation Transcript

Slide1

Critical TheorySlide2

What and Who?

Interdisciplinary collaborations with a variety of fields, including the social sciences, literary and cultural studies, and political theory, toward the goal of radical social change.

First Generation / Frankfurt School (Institute for Social Research, founded: 1923)

Theodor W. Adorno (1903–69); Max

Horkheimer

(1895–1973); Herbert Marcuse (1898–1979); and Eric Fromm (1900–1980); associated: Walter Benjamin (1892–1940) and

György

Lukács

(1885–1971). Mostly German Jewish philosophers and social theorists in the Western European Marxist tradition, sons of wealthy bourgeois families.

Second Generation: Jürgen

Habermas

(1929– ).Slide3

Why Critical?

Horkheimer

(becomes director in 1929): a “critical” theory may be distinguished from a “traditional” theory according to a specific practical purpose: a theory is critical to the extent that it seeks human “emancipation from slavery”, acts as a “liberating … influence”, and works “to create a world which satisfies the needs and powers” of human beings.

Explanatory, practical, and normative: explain what is wrong with current social reality, identify the actors to change it, and provide both clear norms for criticism and achievable practical goals for social transformation.

Practical aim of social inquiry suggests itself: to transform contemporary capitalism into a consensual form of social life, i.e. real democracy.

No substantive distinction between science and philosophy: philosophy defines problems for research and organizes the results of empirical research into a unified whole.Slide4

Doubt

During the rise of fascism in the Second World War and the commodified culture afterwards, the Frankfurt School became sceptical of the possibility of agency, as the subjective conditions for social transformation were on their view undermined.

Fascism and modern capitalism

both

eliminate the space for freedom, while “

t

he limited freedom of the bourgeois individual puts on the illusory form of perfect freedom and autonomy” (

Horkheimer

).

Something rotten in modern Western culture as such, calls for re-thinking the Enlightenment.Slide5

Theodor (Ludwig) W(

iesengrund

)

Adorno

Studied philosophy and music composition with Alban Berg.

Habilitationsschrift

on Kierkegaard's aesthetics. After just two years as a university instructor, he was expelled by the Nazis, along with other professors of Jewish heritage or on the political left. Adorno left Germany in the spring of 1934. During the Nazi era he resided in Oxford, New York City, and southern California. Returned to Frankfurt in 1949 to take up a position in the philosophy department, Adorno quickly established himself as a leading German intellectual and a central figure in the Institute of Social Research.

A wide range of books and articles on musicology, literature, aesthetic theory, as well as social and political theory.Slide6

Adorno and

Horkheimer

, Dialectic of

E

nlightenment

(1944)

Abandoned the interdisciplinary materialist approach.

Did not to deny the achievements of the Enlightenment, but rather wanted to show that it had “self-destructive tendencies”

.

Historical story of the emergence of Enlightenment reason out of myth (not a historical reconstruction).

“Entwinement of myth and Enlightenment”: genesis of modern reason and freedom and how they turn into their opposites. Rather than being liberating and progressive, reason has become dominating and controlling with the spread of instrumental reason.

We

are

tending toward a “totally administered society”

.

Reconstruction of the history of Western reason or of liberalism in which calculative, instrumental reason drives out the utopian content of universal solidarity. Slide7

Dialectic of the Enlightenment 2

Horkheimer

and Adorno do not think that modern science and scientism are the sole culprits. The tendency of rational progress to become irrational regress arises much earlier. Indeed, they cite both the Hebrew scriptures and Greek philosophers as contributing to regressive tendencies.

P

ursuit

of freedom in society is inseparable from the pursuit of enlightenment in culture. Lack or loss of freedom in society—in the political, economic, and legal structures within which we live—signals a concomitant failure in cultural enlightenment—in philosophy, the arts, religion, and the like. The Nazi death camps are not an aberration, nor are mindless studio movies innocent entertainment. Slide8

Dialectic of the Enlightenment 3

The source of today's disaster is domination in a triple sense: the domination of nature by human beings, the domination of nature within human beings, and, in both of these forms of domination, the domination of some human beings by others. What motivates such triple domination is an irrational fear of the unknown: “Humans believe themselves free of fear when there is no longer anything unknown. This has determined the path of demythologization … . Enlightenment is mythical fear radicalized”

W

hat they find really mythical in both myth and enlightenment is the thought that fundamental change is impossible. Such resistance to change characterizes both ancient myths of fate and modern devotion to the facts.Slide9

Capitalist exploitation and the authoritarian personality

W

hy

hunger, poverty,

etc.

persist despite the technological and scientific potential to mitigate them.

C

apitalist

relations of production have come to dominate society as a whole, concentrations of wealth and power

.

Society

is

organized around the production of exchange values for the sake of producing exchange values.

The social-psychological diagnosis of late capitalist exploitation. His American studies of anti-Semitism and the “authoritarian personality” argue that these pathologically extend “the logic of late capitalism itself, with its associated dialectic of enlightenment.” People who embrace anti-Semitism and fascism tend to project their fear of abstract domination onto the supposed mediators of capitalism, while rejecting as elitist “all claims to a qualitative difference transcending exchange”

.Slide10

The Culture Industry

“On the Fetish-Character in Music and the Regression of Listening” (1938) and in “The Culture Industry,” a chapter in

D

E

.

A

rt's

commodity character is deliberately acknowledged and art “abjures its autonomy”

and

“purposelessness”. Instead of promising freedom from societally dictated uses, and thereby having a genuine use value that people can enjoy, products mediated by the culture industry have their use value

replaced

by exchange value

.

His main point is that culture-industrial hyper

-

commercialization evidences a fateful shift in the structure of all commodities and therefore in the structure of capitalism itself.Slide11

Aesthetic Theory

1

Adorno retains from Kant the notion that art proper (“fine art” or “beautiful art”—

schöne

Kunst

—in Kant's vocabulary) is characterized by formal autonomy. But Adorno combines this Kantian emphasis on form with Hegel's emphasis on intellectual import (

geistiger

Gehalt

) and Marx's emphasis on art's embeddedness in society as a whole.

Modern art's social character, namely, to be “the social antithesis of society”

.

The unavoidable tensions within works express unavoidable conflicts within the larger socio

-

historical process from which they arise and to which they belong. These tensions enter the artwork through the artist's struggle with socio

-

historically laden materials, and they call forth conflicting interpretations. Their complete resolution, however, would require a transformation in society as a whole, which, given his social theory, does not seem imminent.Slide12

Aesthetic Theory

2

One such polarity, and a central one in Adorno's theory of

artworks,

occurs between the categories of import (

Gehalt

) and function (

Funktion

).

Adorno

gives priority to import, understood as societally mediated and socially significant meaning. The social functions emphasized in his own commentaries and criticisms are primarily intellectual functions rather than straightforwardly political or economic functions.

Insofar as a social function can be predicated for artworks, it is their

functionlessness

.

Under the conditions of late capitalism, the best art, and politically the most effective, so thoroughly works out its own internal contradictions that the hidden contradictions in society can no longer be ignored. The plays of Samuel Beckett, to whom Adorno had intended to dedicate

Aesthetic Theory

, are emblematic in that regard.Slide13

Walter Benjamin –

Origin of the German Mourning-Play

, 1928

Limitations of Nietzsche's theory of tragedy regarding modern theatre. Benjamin is concerned with establishing whether the historical conditions of the tragic form are themselves a limit to its contemporary efficacy. 

Distinguish

es

the specific and historically conspicuous technique of the German baroque mourning-play. Sorrow or mourning as the predominant mood inherent to its metaphysical structure, in contrast to the suffering of tragedy. A melancholic contemplation of things which derives enigmatic satisfaction from its very recognition of their transience and emptiness.

Baroque concept of the allegorical which structures its mood of melancholic contemplativeness.

The fundamental distinction between symbol and allegory is a temporal one: the temporality of the allegorical, in contrast, as something dynamic, mobile, and fluid. Seems to precede deconstruction in connecting philosophy and literary history, emphasising fluidity, allegory, time.Slide14

The Arcades

Project

All of Benjamin's writings from the autumn of 1927 until his death in 1940 relate in one way or other to his great unfinished study ‘Paris—Capital of the Nineteenth Century’, otherwise known as

The Arcades Project

(

Das

Passagen-Werk

)

.

F

ive

or six archetypal images of the psychosocial space of 19th-century Paris around which the project was organized—each paired with a particular, thematically representative individual

.

E

ntry

into the philosophically comprehended experience of metropolitan

capitalism

in Benjamin's own

day

,

relations

between its elements ‘then’ and ‘now

.

The notes and materials are organized into twenty-six alphabetically designated ‘convolutes’ (literally ‘bundles’) or folders, thematically defined by various

objects

(arcades, catacombs, barricades, iron constructions, mirrors, modes of lighting…),

topics

(fashion, boredom, theory of knowledge, theory of progress, painting, conspiracies…),

figures

(the collector, the

flaneur

, the automaton…),

authors

(Baudelaire, Fourier,

Marx

, Saint-Simon…) and their combinations.Slide15

Technology

Not only did he recognize the potential for a “bloodbath” in a technology subjected to “the lust for profit”—amply demonstrated in the horrors of the First World War—but he came to distinguish between a ‘first’ and a ‘second’, potentially

liberatory

technology

A

rt

, in the form of film—the “unfolding <result> of all the forms of perception, the tempos and rhythms, which lie preformed in today's machines”—thus harboured the possibility of becoming a kind of rehearsal of the revolution.

Benjamin's writings on film are justly renowned for their twin theses of the transformation of the concept of art by its ‘technical reproducibility’ and the new possibilities for collective experience this contains, in the wake of the historical decline of the ‘aura’ of the work of art, a process that film is presented as definitively concluding.Slide16

“The work of art in the age

of mechanical reproduction” (1936)

Discussion of media, the history of art, and Marxist theory, has become a foundational text for critics in many fields, including film studies, literature, and cultural studies.

The ability to reproduce art by means of lithography and photography led to a degradation of the aura that surrounded traditional art objects.

Aura existed initially because art objects were traditionally part of rituals and religious ceremony, and it was maintained by later cults of beauty, such as we see in some forms of Romanticism, that held the art object apart as pure, authentic, original, and without function. Also associated with

fetis

h

istic

, uncritical adoration.Slide17

M

echanical

reproduction

2

T

he

aura has been stripped away

in

the modern era because the distance between the masses and art has been closed by the availability of easily made, cheap reproductions; he saw this as a positive

development,

because when the consumer is close to art, it becomes a potential tool with which to communicate directly with the masses, and therefore could serve progressive political ends.

But

he

always regarded

progress

as a destructive force, and believed that the kind of historical narrative, like Marxism, that depicts civilization as always improving

ignore

s

violence and rupture

.

Cinema

could offer an alternative to fascism’s

aesthetization

of violence and politics

(mass rallies

, etc.

).

Cinema also represented the modern

experience,

wi

t

h

its constant movement that does not allow for lengthy contemplation

and

its replacement of unitary substance by a

succession

of disparate images. Cinema

shaped

the modes of perception of the mass audiences, who then took this experience back out into the world. Slide18

Charles Baudelaire: A Lyric Poet in the Age of High Capitalism

Baudelaire’s poetry is shaped

by

the shock that is the experience of the overstimulated individual in the crowd that makes up the modern city.

It

turn

s

away from the pure, beautiful aesthetic and from the aura of the work of art.

In Baudelaire's ‘The Painter’ essay,

modernité

famously denotes ‘the ephemeral, the fugitive, the contingent’. Benjamin was (politically and philosophically) interested in ‘the new’

and

the

routinization

accompanying the generalization of the new as a mode of experience—in fashion and boredom, in particular—and the formal structure of sameness involved in its repetition

.

Baudelaire embraced modernity with ‘heroic effort’, attempting, like the painter of modern life, to ‘extract its epic aspects’ and ‘

distill

the eternal from the transitory’; Benjamin, on the other hand, sought to understand it in order to find a way out of what he called its ‘hell’. Slide19

György

Lukács

early work

Historicisation

of aesthetic categories,” though, in many ways, his view of the classical forms of epic and tragedy as outmoded genres in a capitalist world was a legacy of German romanticism.

The novel, in his account, was alienated humanity’s version of the epic; in a world abandoned by God, the modern individual could no longer pursue the conventional quest-myth that had reflected and reaffirmed the unitary values of past cultures.

Instead, the hero of the bourgeois novel must navigate a world of contradictions and compromises ill suited to the human “soul” and the fullness of its sensibilities.Slide20

Early essays

R

elationship

between “form” and “life

.

A

)

the

question of how the element of “form” distinguishes art as a separate sphere of value.

B)

there is the sociological-historical

question

about the relation between (individual and collective) life and the (aesthetic and ethical) forms in modern bourgeois society.

Next

to “form”, two central concepts

are

“totality” and “life”. With “totality”

Lukács

refers to a whole set of elements that are meaningfully interrelated in such a way that the essence of each element can only be understood in its relation to the others. “Life”, as

Lukács

understands it, is the intrinsic richness and potentiality of experiences and actions of individuals and

societies.

Both individual and social life is in principle capable of forming an integrated totality. However, this is only the case if the essential properties of its elements are intelligible in terms of their relations to other particulars of life.

T

his

was the case in the times of Homeric Greece where a totality of meaning was immanent to life itself. This immanence of meaning and the totality it constituted was, however, lost in the subsequent historical development, transforming form into an external factor to life.

M

odern

art

is

the

response

to

this

loss

.Slide21

History of the Modern Drama

, 1909

C

oncerned

with the historical changes in our relations to form.

C

onnect

s

the

history and sociology of

drama, genres

and historical changes. He argues that drama is connected to specific historic circumstances:

a

Weltanschauung

.

Th

e

tragic

Weltanschauung

only exists in periods of societal disintegration where individual emotions and objective facts are in a relation of mismatch so intense that they elicit heroic forms of the denial of social reality.

I

f

that class then begins to experience these very same valuations as

problematic,

this signifies the beginning of its

downfall.

In such situations, the formal element of drama and tragedy, which involves the paradoxical relation between highly universalized form and highly individualized content, mirrors the paradoxical relation between form and life that individuals experience in their own relation to society

.Slide22

The Theory of the Novel

, 1916

H

e

turns towards a philosophy of history in order to clarify the relationship between historical changes of transcendental standpoints and the “pure forms” of aesthetic genres. The prime object of his discussion is the epic:

Lukács

claims that works of art that belong to this genre—for example Homeric epic poetry and the modern novel—must always express the objective reality of social and individual human life

as it

is

.

Epic

poetry in Homeric times takes its starting point from a world which constituted a

closed

totality

,

that is, a world in which life, culture, meaning, action and social institutions formed a harmonious whole.

T

he

“essence” of being was immanent to life rather than having to be sought out in a transcendent realm.

In

contrast, modern society is constitutively alienated: merely conventional social institutions devoid of meaning exist disconnected from individuals and their highly individualized self-understanding. Therefore, in modern society meaning can only be found within the inner life of the individual and cannot become recognized in the

wor

ld.Slide23

The Theory of the

Novel

2

T

he

intellectual history of the world is

prefigured

in the cultural history of ancient Greece within the movement from epic poetry to tragedy and then to philosophy.

Tragedy

and philosophy have already realized the loss of a meaningful totality, whereas the possibility of epic poetry depends on its immanence.

This

alienation of the individual from her world leads to a situation of “transcendental homelessness

in which individuals must take up a purely normative stance of a “should be

towards the world. The novel is always relating to the development of such individuals. This development can take the shape of a subjective-idealist illusion (e.g., as in “Don Quixote”) or of a disillusion, that is, of individuals understanding the impossibility of finding meaning within their world.

Utopian

vision: the very form of the novel points to the possibility of a renewed relation between individual and world where meaning can again be found. Slide24

History and Class Consciousness

,

1923

After 1918 conversion to communism.

Lukács

frames his basic argument as an extension of Marx’s analysis of the “fetishism of the commodity form” in

Capital I

, whereby Marx refers to the phenomenon that social relations between producers of commodities appear in capitalism under the guise of objective, calculable, properties of things (“value”). The form which commodities acquire due to this fetishism has gradually become,

Lukács

claims, the “universal category of society as a whole”

Commodity form “stamps its imprint upon the whole consciousness of man”

Lukács

calls this development “reification”. It is a process which affects four dimensions of social relations: the socially created features of objects, the relations between persons, their relations to themselves and, finally, the relations between individuals and society as a whole.

T

he properties of objects, subjects and social relations become “

thinglike

” in a particular way.Slide25

The Historical

Novel

,

1937

S

ociological

realism of great writers

like

Balzac

and Tolstoy depended on the

literary

innovations

of the historical novel, in

particular,

those

of Sir Walter Scott.

Scott’s

characters were the

first

fictional

persons imprinted with the

historical

and

social forces of their age: “the

great

human

qualities as well as the vices

and

limitations

of Scott’s heroes spring

from

a

clearly embodied historical basis

of

existence”

.

T

he

sociohistorical

typicality

of

these

characters merges

dialectically

w

ith

their individual idiosyncrasies to

recreate

the

field of potential human

action

available

to the “period” or “age”

represented

in

the novel.

The

value of the

art

work

, in this schema, stems

from

its capacity

to

show the reader not only the ability

of

persons

to act in the world (as the

bourgeois

English

novel of the eighteenth century

had

already

done) but also the social and

economic

bases

for the construction of

reality

and

worldview.

Marx &

Engels

:

men make

their

own

history, but they do not make it as

they

please”.Slide26

Jürgen Habermas

Socialised in post-war Germany, the example of Heidegger convinces him that German philosophy is unequipped to recon with Nazism.

Moves towards more empirical studies (social sciences) and Anglo-America

n

philosophical traditions.Slide27

Structural

Transformation of the Public

Sphere

,

1962

B

eginning

in

Britain

in

the latter half of the seventeenth

century,

a

“bourgeois public sphere” arose.

This

special

category is separate from the

public

sphere

of political domination and

administration,

and

is of a “private” character

in

that

it has no official

place.

It

arises

out

of the private sphere of ordinary

people’s

home-based discussion,

and is fired by

the

increasing

accessibility of the

printed

word, centred

in

the

new

coffeehouses and places of public

meeting.

This

period of vast expansion of

print

culture

, when restrictions on

publishing

lapsed

, saw the sustained rise of the

exchange

of

critical debates in

periodicals,

newspapers

, and pamphlets; rational

argument

and

radical thought produced a

new

realm

of political influence, later to

emerge

as

the new concept of “public opinion

.”

In

France

such

public

criticism

led to revolution. Slide28

Structural Transformation of the Public Sphere

2

T

his bourgeois public sphere

withered in the later nineteenth century,

when capitalist and establishment

interests combined to turn the press

into a mere mouthpiece of commerce and

the political public sphere. Importantly,

however, in this book

Habermas

sees political

criticism and debate arising out of

seventeenth- and eighteenth-century literary

criticism.

H

is interest in a communicative ideal that later would provide the core normative standard for his moral-political theory: the idea of inclusive critical discussion, free of social and economic pressures, in which interlocutors treat each other as equals in a cooperative attempt to reach an understanding on matters of common concern. Slide29

The Theory of Communicative

Action

,

1981

T

wo-level

social theory that includes an analysis of communicative rationality, the rational potential built into everyday speech, on the one hand; and a theory of modern society and modernization, on the

other.

On the basis of this theory,

Habermas

hopes to be able to assess the gains and losses of

modernization

.

R

ationality

consists not so much in the possession of particular knowledge, but rather in “how speaking and acting subjects acquire and use knowledge

.

A theory of rationality thus attempts to reconstruct the practical knowledge necessary for being a knowledgeable social actor among other knowledgeable social actors

.

S

ocial

theory of modernity to show the ways in which modern culture has unleashed communicative rationality from its previous cultural and ideological constraints. In modern societies, social norms are no longer presumed to be valid but rather are subjected to critical reflection, as for example when the ethical life of a specific culture is criticized from the standpoint of justice. In a sense consistent with the Enlightenment imperative to use one's own reason, the everyday “lifeworld” of social experience has been rationalized, especially in the form of discourses that institutionalize reflective communicative action, as in scientific and democratic institutions. Slide30

Philosophical Discourse of Modernity

,

1985

Engaged closely with the philosophy underlying modern literary theory.

Discusses ways in which humans can come to terms with living in modernity, in an age which can no longer ground itself with models from the classical past, or through commonly held religious certainties.

The work stands in opposition to the heirs of Nietzsche and Heidegger, who, questioning the possibility of stable meaning in language, reject the autonomy and coherence of the human subject. A wrong turning had bee taken by French poststructuralists, especially Derrida.

Continuing significance of the Enlightenment; questioning Adorno’s distrust of the role of reason, he contends that the problem of Enlightenment thought was that it was not allowed to go far enough.

While one should recognize the decentred, fractured nature of humans’ interior lives, and the deceptions of language, we can use reason as the foundation for non-coercive mutual understanding and

intersubjectivity

, and thus for recognition of and dialogue with others.