By Steven Helmling
Adorno's Poetics of Critique is a severe examine of the Marxist culture-critic Theodor W. Adorno, a founding member of the Frankfurt college and broadly appeared this present day as its such a lot extraordinary exponent.
Steven Helmling is centrally interested in Adorno's notoriously tough writing, a characteristic such a lot commentators recognize in simple terms to set it apart so one can an expository account of 'what Adorno is saying'. in contrast, Adorno's advanced writing is the vital concentration of this research, together with specified research of Adorno's most intricate texts, specifically his most renowned and intricate paintings, co-authored with Max Horkheimer, Dialectic of Enlightenment.
Helmling argues that Adorno's key motifs - dialectic, thought, negation, immanent critique, constellation - are prescriptions no longer in basic terms for severe pondering, but in addition for serious writing. For Adorno the efficacy of critique is conditioned on how the writing of critique is written. either in idea and in perform, Adorno urges a 'poetics of critique' that's every piece as severe as the rest in his 'critical theory.
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Adorno's Poetics of Critique is a serious learn of the Marxist culture-critic Theodor W. Adorno, a founding member of the Frankfurt university and broadly seemed at the present time as its such a lot impressive exponent. Steven Helmling is centrally all in favour of Adorno's notoriously tricky writing, a characteristic such a lot commentators recognize merely to set it apart so that it will an expository account of 'what Adorno is saying'.
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Additional info for Adorno's poetics of critique
For Hegel, unhappy consciousness expresses a relation to some ‘beyond’ that is inaccessible in this world; it thus encourages an ‘abstract negation’ of this-worldly attachments, and of the very possibility of this-worldly happiness as such. For this specific but chronic historical-spiritual disorder, Hegel believes that the fullness of history has, in the modern age, at last enabled a (philosophical) remedy, which the Phenomenology prescribes: a critical self-consciousness that will redeem the promise of this-worldly happiness by sublating the abjection instigated by our alienation from a ‘beyond’ entoiled, by reason of its limitlessness, in all the regressions of ‘bad infinity’—a formula anticipating the implacably punitive super-ego diagnosed by Freud.
In any case, the implication of the affects in the ‘truth-discourses’ is ubiquitous in Adorno—for example in his surprisingly frequent assimilations of philosophy to music: in the very title of Philosophy of New Music; in the resonances with Hegel in the Beethoven fragments (see any of the numerous references in the book’s Index); and in quotations like this one, from the early (1932) essay, ‘On the Social Situation of Music’: Music will be better, the more deeply it is able to express—in the antinomies of its own formal language—the exigency of the social condition and to call for change through the coded language of suffering.
Death, if that is what we want to call this non-actuality, is of all things the most dreadful, and to hold fast what is dead requires the greatest strength. . But the life of Spirit is not the life that shrinks from death and keeps itself untouched by devastation, but rather the life that endures it and maintains itself in it. It wins its truth only when, in utter dismemberment, it finds itself. . Spirit is this power only by looking the negative in the face, and tarrying with it. This tarrying with the negative is the magical power that converts it into being.
Adorno's poetics of critique by Steven Helmling