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 greatly seemed this present day as its such a lot amazing exponent.
Steven Helmling is centrally thinking about Adorno's notoriously tricky writing, a characteristic so much commentators recognize merely to set it apart to be able to an expository account of 'what Adorno is saying'. against this, Adorno's advanced writing is the valuable concentration of this learn, consisting of designated research of Adorno's most intricate texts, particularly his most famed and complex paintings, co-authored with Max Horkheimer, Dialectic of Enlightenment.
Helmling argues that Adorno's key motifs - dialectic, thought, negation, immanent critique, constellation - are prescriptions now not in basic terms for severe pondering, but additionally for serious writing. For Adorno the efficacy of critique is conditioned on how the writing of critique is written. either in thought and in perform, Adorno urges a 'poetics of critique' that's every piece as serious as the rest in his 'critical theory.
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Adorno's Poetics of Critique is a serious examine of the Marxist culture-critic Theodor W. Adorno, a founding member of the Frankfurt tuition and greatly looked at the present time as its so much magnificent exponent. Steven Helmling is centrally serious about Adorno's notoriously tough writing, a function so much commentators recognize basically to set it apart so one can an expository account of 'what Adorno is saying'.
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Additional info for Adorno's poetics of critique
To undo this, critique must incur an affective labor along with its other burdens. ‘The need to lend a voice to suffering’, writes Adorno, ‘is the condition of all truth’ (ND 17–18), a premise that rejoins affect and concept, feeling and thinking, to enact Adorno’s dialectical protest against the separation of these categories—these domains of experience—in Western culture. For Adorno, ‘the labor of the concept’ itself involves laboring to uncover, focus, articulate, and express its chronically repressed or distorted, fetishized or reified affective elements.
Some might argue that Freud’s writing, too, is ‘enacting’ one of his fundamental themes, the ‘nirvana principle’, that all mental activity has as its goal to defuse dangerous affects. In his account of ‘The Dream Work’ (chapter VI of The Interpretation of Dreams), Freud demonstrates how the unconscious and language interact through devices that seem as much rhetorical as psychological— ‘displacement’ (sc. metonymy), ‘condensation’ (sc. metaphor), ‘the rebus’, the slide from either/or to both/and, the circumvention of repression under the sign of the negative, etc.
Adorno’s Kant seems proleptic of that Cathecting Philosophy 21 ‘heroism of modern life’ (the black-suited bourgeoisie assisting in stoic dispassion, ‘not breaking up its lines to weep’, nor even presuming to expect a speaking role, at the funeral of its own passional energies) to which Baudelaire paid the back-handed compliment of an uncharacteristically muted mockery. Kant’s ‘emotional force’, that is to say, partakes of that struggle against emotion and feeling that Dialectic of Enlightenment traces back to the episode of the Sirens in the Odyssey.
Adorno's poetics of critique by Steven Helmling