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1

Dialektyka utopii

100%

Wójcik B.

Estetyka i Krytyka

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2014

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issue 4(35)

49-72

XX

In the essay the speculative movement of the term “utopia” is presented on two examples: in works of the two most important dialecticians of modernity, Hegel and Adorno. Hegel’s reflection on utopia is determined by internal tension between his juvenile enthusiasm for the project of aesthetics utopia and mature criticism of all utopian transformations of the actual reality. Adorno, on the other hand, accused his “great predecessor” of betrayal of utopia in the name of its realization. Hence for Adorno utopia is only an negative consciousness of what is not existing, and just it – embodied in the work of art - makes a promise of salvation of the proper name. Confronting these two antagonistic positions I consider them in a wider framework of a fundamental issue: is salvation (of an individual? Of society?) possible in temporality (in the Hegelian absolute knowledge) or will it arrive only form Other side (as in Adorno’s utopia of ineffable nonidentity)?

2

Dichtermut i Blödigkeit – dwa wiersze Friedricha Hölderlina w interpretacji Waltera Benjamina

100%

Hanssen B.

Estetyka i Krytyka

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2017

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issue 1(44)

97-134

3

Retoryka jako narzędzie badania kiczu

89%

Łakota B.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2020

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vol. 12

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issue 3

111-129

EN

Contemporary expansion of kitsch calls for the answer to the question concerning conditions in which it is possible to decipher kitsch and see the role it plays nowadays. The work concentrates on the rhetoric of kitsch, at the same time emphasising, how important rhetoric is for the reception of contemporary culture. Using the perspective of new aesthetics, suggested by Adorno, who established the decorum of art after Auschwitz, the paper develops the view on kitsch as a parody of katharsis. Implementing a new combination of research findings into rhetoric of values (by Perelman) with Adorno’s insights concerning this category leads to a bold thesis: kitsch is not innocent. Adorno’s pessimistic and melancholic point of view, whose source was the awareness of standardisation of culture industry products, concerned the fight for a personal contact between an individual and a work of art. An aestehtic reception of art became impossible (in his essay, “The Schema of Mass Culture”, Adorno emphasised the logic behind the reaction to a work of art, inscribed in a work as a product, in which the instruction of reception was included). Adorno’s philosophy was firmly based in the performative perspective, a view about the intangibility of research object, disruption of the balance and exposing it. Mass culture became a culture of exhaustion, but Adorno is not an exclusively Cassandric author. Writing about destruction, he included in his works the foundations for the concept linked with the assumptions of the new rhetoric. The paper concentrates on these similarities in order to capture the purposefulness of the rhetorical expression.

PL

Współczesna ekspansja kiczu domaga się odpowiedzi na pytanie dotyczące warunków, w których można odszyfrować kicz i dostrzec rolę, jaką odgrywa on współcześnie. Praca skupia się na retoryce kiczu, podkreślając tym samym, jak ważne jest znaczenie retoryki w recepcji współczesnej kultury. Wykorzystując ujęcie nowej estetyki dokonane przez Adorna, prawodawcy decorum sztuki po Auschwitz, praca rozwija spojrzenie na kicz jako parodię katharsis. Zastosowane nowe zestawienie badań nad retoryką wartości autorstwa Perelmana z refleksjami autora Minima moralia dotyczącymi tej kategorii prowadzi do śmiałej tezy: kicz nie jest niewinny. Pesymistyczny, pełen melancholii sposób myślenia Adorna, którego źródłem była świadomość standaryzacji produktów przemysłu kulturowego, dotyczył walki o indywidualny kontakt jednostki z dziełem sztuki. Estetyczny odbiór sztuki stał się bowiem niemożliwy (w eseju Schemat kultury masowej Adorno podkreślał logikę reakcji na dzieło sztuki wpisaną w samo dzieło jako produkt, w którym zawarta została instrukcja odbioru). Filozofia frankfurtczyka znalazła trwały grunt w aranżującym w kulturze sytuację kryzysu zwrocie performatywnym, poglądzie o nieuchwytności przedmiotu badań, zakłóceniu stanu równowagi i wyeksponowaniu tego zakłócenia. Kultura masowa stała się kulturą wyczerpania, lecz piszący o niej Adorno nie jest wyłącznie kasandrycznym autorem. Pisząc o zagładzie, zawarł on w swoich pracach podwaliny koncepcji spowinowaconej z założeniami nowej retoryki. Praca skupia się na tych podobieństwach, aby uchwycić celowość zwrotu retorycznego.

4

Adorno and practically useless art, or autonomy instead of avant-garde

89%

Czekaj R.

Art Inquiry. Recherches sur les arts

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2017

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vol. XIX (XXVIII)

121-130

EN

Adorno’s aesthetic theory allows us to treat him as an anti-theorist of the avant-garde. We can find in his work many accurate observations grasping the essence of the changes that were introduced by this artistic formation. Adorno himself used the term “avant-garde” in a slightly different meaning – as denoting artistic production going against the traditional aesthetic tastes, but also resistance to commercialization and reification. In the context of Adorno’s whole philosophy such resistance is illusory. The mechanisms governing the sphere of culture are total and efficiently pacify any aesthetic rebellions. Therefore, it is not in the formal experiments that Adorno saw the rebellion of art against the existing system. According to the German philosopher, the critical function of art – its main vocation – is realized in the antithetic attitude to reality and is due to the so-called “ideal of transformation”. And those are only conditioned by the autonomy of art. In the present paper I discuss the points in Adorno’s aesthetic theory at which he shows art as autonomous.

PL

Teoria estetyczna Adorna pozwala na traktowanie go jako teoretyka awangardy. Znajdziemy u niego wiele trafnych analiz dotykających istoty zmian, jakie wprowadziła ze sobą ta formacja artystyczna. Sam Adorno jednak używał terminu „awangarda” w nieco szerszym znaczeniu – jako produkcja artystyczna, która nie tylko łamie tradycyjne gusta estetyczne, ale także stawia opór komercjalizacji i reifikacji. W kontekście całej filozofii Adorna taki opór jest jednak iluzoryczny. Mechanizmy rządzące sferą kultury są totalne i skutecznie pacyfikują wszelkie bunty estetyczne. Dlatego to nie w formalnych eksperymentach Adorno widział rebelię sztuki przeciwko panującemu systemowi. Funkcja krytyczna sztuki – wedle frankfurtczyka naczelne jej powołanie – spełnia się w antytetycznym stosunku do rzeczywistości i dzięki tzw. ideałowi przetworzenia. Ich warunkiem z kolei jest autonomia sztuki. W niniejszym tekście przedstawiam te momenty teorii estetycznej Adorna, w których ukazuje on sztukę jako autonomiczną właśnie.

5

KIERKEGAARD AND THE CONCEPT OF NEGATIVE DIALECTICS OF THEODOR ADORNO

88%

Krawerenda-Wajda K.

Studia Humanistyczne AGH

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2012

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vol. 11

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issue 3

EN

The main subject of this paper is the influence of Kierkegaard's philosophy on the concept of Adorno's dialectics. This article is focused on the analysis of Adorno's work published in 1966 titled Negative Dialec-tics. Adomo 's concept of dialectics, which is based on undefined experience, is broadly similar to the "negative" concept of existential philosophy of Kierkegaard. Although Adomo uses the Hegelian dialectics to expose the ways in which Kierkegaard’s thoughts fali into idealism. Finally, Adomo adopts Kierkegaard’s criticism of Hegelian identity of thinking. Adomo, in Negative Dialectics refers to Kant, Hegel Heidegger, but seldom to Kierkegaard. A careful analysis shows that a number of themes and concepts of its predecessor have been assimilated to his philosophy.

6

“Etwas Fehlt”: Marxian Utopias in Bloch and Adorno

87%

Truskolaski S.

Praktyka Teoretyczna

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2020

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vol. 35

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issue 1

EN

During a radio debate in 1964, Bloch and Adorno clashed over the status of Utopia in Marx’s thinking. In particular, the disagreement concerned the possibilities (or, rather, limitations) of picturing – with Marx and beyond Marx – a condition in which all societal antagonisms have been reconciled. It is telling, then, that their conversation quickly came to turn on a surprising term: the Old Testament interdiction against making images of God. Given both authors’ commitment to an ostensibly secular critique of capitalist modernity, the prominence of this figure, which is emblematic of the decades-long exchange between these authors, invites further questions. What, for instance, are the epistemic and aesthetic conditions under which Bloch and Adorno propose to present their Marxian Utopias? By considering these questions in light of issues arising from their debate, and applying it to their writings more generally, mypaper aims to contribute to the on-going exploration of “Utopia” in German Critical Theory.

7

K Adornově konceptualizaci sociální podstaty moderny

75%

Nový M.

Historická sociologie (Historical Sociology)

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2016

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vol. 1

53-70

EN

This study explores the fundamental traits of Adorno’s conceptual understanding of modernity. In Czech sociology, there has not been a serious discussion of Adorno’s seminal oeuvre, this article aims to fill that gap. The aim is to reconstruct the very basis of Adorno’s sociological method: firstly, the essay turns its attention to the historically specific mode of subsumption of human action to the conceptual totality of class domination. In this process, an individual adopts a positive identity within which its suppressed, ontologically negative complement – its dynamic non-identity, persists. Secondly, the study deals with Adorno’s derivation of the concept of social essence. In this respect, he draws on Marx’s Capital, but Adorno’s critical reading introduces an important conceptual innovation: under the conditions of Keynesianism, Adorno challenges the validity of Marx’s theorization of law-like objectivity of value and replaces it with the concept of exchange as the universal model of social activity. However, the study argues that Adorno’s reconstruction of Marx’s critique of political economy has reified Keynesian management of the capitalist economy.

8

Czytając Adorna... Rzecz o teorii estetycznej

75%

Hudzik J.

Estetyka i Krytyka

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2017

|

issue 2(45)

31-50

EN

The purpose of this article is to answer the question ‘what is aesthetc theory?’ I try to perform the way of reasoning about this topic by Theodor Adorno. Such a challenge by definition must be spontaneous, and fully loaded with idiosyncratic volatilities and factors, while being fully aware that it is impossible to perform the mode of thinking of the great Frankfurt School figure. There is no way to repeat his negative dialectics skilled argumentation, one that undermines itself and therefore it is a seductive, probably the most proximate thinking about art. It is also incomprehensible comprehensibility that is usually the most attractive feature of art to us. Its unknowable truth. I begin with reminding the modern idea for aesthetics as a place of refuge from increasing rationalization of the world. Then I write about antinomy of art and paradox of theory – the sources and mechanisms of its cognitive emptiness. The next step is about philosophy of picture – its short history associated with Adorno’s concept of picture as a ‘field of forces’. In the end of searching for a way out from the antinomical trap I defend the thesis about aesthetic theory as a performance.

9

„Kłamstwo kiczu”

75%

Rogucki J.

Kultura-Społeczeństwo-Edukacja

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2015

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vol. 8

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issue 2

101-110

PL

Many authors agree that kitsch as an esthetic conc ept has its roots in the romanticism. Its negative meaning places kitsch in opposition to high art and other concepts of beauty. This paper deals with this issue and puts a significant question on the alleged and paradox conservative character of this esthetics. Kitsch as a caricature of art itself is here being analyzed critically on the basis of fundamental theories of modern art and esthetics by Theodor Adorno, Roland Barthes or Milan Kundera.

10

Playing distressed art: Adorno’s aesthetic theory in game design

75%

Hanussek B.

Replay. The Polish Journal of Game Studies

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2021

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vol. 8

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issue 1

73-87

EN

The discussion on games as (not) art has been raging for decades without reaching a consensus. It is argued here that the ontological status of games is irrelevant for the perception and development of aesthetic experiences in videogames. Instead, game design should be regarded as ripe to convey the experience of art according to established aesthetic theories. The essay presents Adorno’s aesthetic theory and highlights its reflections in the games Papers, Please and Observer. It then describes how they were synthesized into a critical gameplay experience in the author’s game Distressed. The latter may be regarded as an example of a method in game studies in which the aesthetic potential of games is explored by creation rather than analysis. Arguably, this reveals the importance of epistemological approaches towards games and art instead of the predominant ontological ones.

11

K rekonstrukci „kapitalismu“ u autorů otevřeného marxismu

75%

Nový M.

Sociologický časopis. Czech Sociological Review

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2013

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vol. 49

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issue 4

603-624

EN

Focusing on the Open Marxism school, this article explores the conceptualisation of capitalism in the work of the school’s main proponents: Werner Bonefeld, John Holloway and Richard Gunn. While it criticises Pavlinek’s initial interpretation, it argues for a reconstruction that is sensitive to Open Marxism’s crucial notion of mediation of the central capitalist abstraction, which is a self-valorising value. Mediation analysis reveals the contradictory existence of capitalist social forms and consequently has the capacity to identify the source of their internal negativity. It grasps the existence of manifold elements of the capitalist totality on a conceptually objective basis. Individual human subjects exist in and at the same moment against capitalist society; it is through them, as contradictory identities, that the class struggle is fought. Accusing Open Marxism of class reductionism is false, because such an objection fails to distinguish between formal (analytical) and determinate (dialectical) abstraction as two different tools for analysing social reality. To confuse one with the other generates conceptual chaos at the very outset of the process of understanding Marxist dialectics.

12

Schwarz und Grau hinter Weiß und Rot. Autoritäre Potenziale in der türkischen und in der polnischen Gesellschaft im Spiegel der Reportagen Bittersüße Heimat: Bericht aus dem Inneren der Türkei von Necla Kelek und Rückkehr nach Polen: Expeditionen in mein Heimatland von Emilia Smechowski

71%

Okoński K.

Porównania

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2022

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vol. 32

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issue 2

213-231

EN

Post-)migration literature by Polish and Turkish authors in Germany is no longer an artistic elaboration of life abroad, a view of the West from an Eastern perspective or a reflection of traumas, phobias and dreams from the old homeland. More and more frequently, writers with foreign roots refer to the German past and present. Similarly to authors of Turkish origin, Polish writers and journalists living in Germany are reporting on the country of their childhood-and that is not always a sentimental view. Ideological polarization, anti-democratic tendencies, patriarchy, religious radicalism, phantom pains and longing for the imperial past, nationalism and idealization of one’s own history, division of the country into pro-Western metropolises and a conservative province form a background for the journey through the rediscovered country of origin-in Poland and in Türkiye. Emilia Smechowski’s Return to Poland: Expeditions to my home country (2019) and the report by the German-Turkish sociologist Necla Kelek Bittersweet Home: Report from the interior of Turkey (2008) form the starting point for a comparative analysis of the authoritarian potentials in both societies.

DE

(Post-)Migrationsliteratur polnischer und türkischer Autoren in Deutschland ist nicht mehr eine künstlerische Aufarbeitung des Lebens in der Fremde, ein Blick auf den Westen aus östlicher Perspektive oder ein Spiegelbild von Traumata, Phobien und Träumen aus der alten Heimat. Schriftsteller mit ausländischen Wurzeln beziehen sich in ihren Werken immer häufiger auf die deutsche Geschichte und Gegenwart. Ähnlich wie die Autoren türkischer Herkunft, berichten auch die in Deutschland lebenden polnischen Schriftsteller und Publizisten über das Land ihrer Kindheit – und das ist nicht immer ein sentimentaler Blick. Ideologische Polarisierung, antidemokratische Tendenzen, Patriarchat, religiöser Radikalismus, Phantomschmerzen und Sehnsucht nach der imperialen Vergangenheit, Nationalismus und Idealisierung der eigenen Geschichte, Teilung des Landes in prowestliche Metropolen und in eine konservative Provinz bilden einen Hintergrund für die Wanderung durch das wiederentdeckte Herkunftsland – in Polen und in der Türkei. Emilia Smechowskis Rückkehr nach Polen. Expeditionen in mein Heimatland (2019) und die Reportage der deutsch-türkischen Soziologin Necla Kelek Bittersüße Heimat: Bericht aus dem Inneren der Türkei (2008) bilden den Ausgangspunkt für eine vergleichende Analyse der autoritären Potentiale in beiden Gesellschaften.

13

Ideał wspólnoty i polityka różnicy

65%

Young I. M.

Praktyka Teoretyczna

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2010

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vol. 1

41-66

EN

brak

PL

Tekst dotyczy idei wspólnoty w filozofii dekonstrukcji i filozofii Szkoły Frankfurckiej.

14

Przejrzeć Heideggera

63%

Różanowski R.

Sztuka i Dokumentacja

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2021

|

issue 24

45-61

EN

Martin Heidegger’s lecture The Origin of the Work of Art, presented on November 13th, 1935 in Freiburg, marked a significant turn in its author’s philosophical thought. Earlier Heidegger had immersed himself in politics, yet when it proved to be a blind alley or simply a mistake, he turned to aesthetics. And although he never endeavoured to form a systematic theory of art or aesthetics, art does hold a solid position within his philosophical output. When certain researchers tackle the issue of Heidegger’s specific, metaphorical language, they point out that the philosopher addressed well known issues that, in fact, had already been widely discussed beforehand. While analyzing art, he asked a basic question about its substance. The provided answer would also remain on the traditional side: only art, as opposed to thinking with the use of certain terms, saliently relates to being – here Heidegger’s thought finds its common ground with those of philosophers as different as Schelling, Nietzsche or Adorno. Heidegger himself found his idea of art very much opposed to traditional aesthetics - to what focused on artistic experience and on experiencing art. In his opinion, all attempts to interpret a work of art that were based on the term “experience”, using it then to construct a whole concept of modern aesthetics, were deleterious effects of the old philosophy focused on subjectivity, where aesthetics is inevitably degenerated – not only by promoting the wrong idea of the spheres belonging to the artist and the viewer, but also by losing sight of the work of art being the highest, essential instance. Thus, solely a work of art remains the object of his specific metaphysics, since it embodies the substance of art. And so, the desire to “see through Heidegger,” focusing on his key opus - The Origin of the Work of Art - follows the perspective drawn by Hermann Mörchen who aimed at breaking the philosophical refusal to make connections between Heidegger and Adorno, as well as confronting the output that each of them had left after their deaths. Within that perspective, a significant role is played, next to Adorno, by Walter Benjamin – as there are certain remarkable aesthetic problems that at times set the two adversaries closer to each other, and at times further apart. Benjamin’s letters involve a critique of Heidegger’s work. According to Adorno, every attempt to justify aesthetics by invoking the origin of art as its core, must lead to a disappointment. Whereas Benjamin, in an essay that was supposed to earn him a degree, mused about the “origin of German Trauerspiel;” and like Heidegger, he also wrote about van Gogh. Thus, the presented conclusions may not only imply differences, but also correspondence and compliance of certain philosophical assumptions made by the philosophers.

15

A crítica da modernidade de Adorno, Foucault e Agamben, ou a Ideologia da separação

54%

Urbán B.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2017

|

vol. Special Issue: O mundo da literatura

39-48

EN

The article focuses on the critique of Modernity elaborated by three continental philosophers, Adorno, Foucault and Agamben. By locating a certain critical attitude towards the episteme of Modernity, present in all three of these thinkers, the author explores the ideas and the discursive steps that connect Adorno’s notion of Modernity to that of Foucault, and Foucault’s ideas to the political theory of Giorgio Agamben. What crystallises from this discursive chain connecting the oeuvres of the three thinkers, is a certain ideology of Modernity which could be called the “ideology of separation”.

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Dialektyka utopii

Dichtermut i Blödigkeit – dwa wiersze Friedricha Hölderlina w interpretacji Waltera Benjamina

Retoryka jako narzędzie badania kiczu

Adorno and practically useless art, or autonomy instead of avant-garde

KIERKEGAARD AND THE CONCEPT OF NEGATIVE DIALECTICS OF THEODOR ADORNO

“Etwas Fehlt”: Marxian Utopias in Bloch and Adorno

K Adornově konceptualizaci sociální podstaty moderny

Czytając Adorna... Rzecz o teorii estetycznej

„Kłamstwo kiczu”

Playing distressed art: Adorno’s aesthetic theory in game design

K rekonstrukci „kapitalismu“ u autorů otevřeného marxismu

Schwarz und Grau hinter Weiß und Rot. Autoritäre Potenziale in der türkischen und in der polnischen Gesellschaft im Spiegel der Reportagen Bittersüße Heimat: Bericht aus dem Inneren der Türkei von Necla Kelek und Rückkehr nach Polen: Expeditionen in mein Heimatland von Emilia Smechowski

Ideał wspólnoty i polityka różnicy

Przejrzeć Heideggera

A crítica da modernidade de Adorno, Foucault e Agamben, ou a Ideologia da separação