Iain Macdonald

When Adorno refers to the concept of maturity (Mündigkeit), he generally means having the courage and the ability to use one’s own understanding independently of dominant heteronomous patterns of thought. This Kantian-sounding claim is essentially an exhortation: maturity demands self-liberation from heteronomy, i.e. autonomy. The problem, however, is that in spite of Adorno’s general endorsement of Kant’s definition of maturity, he ultimately rejects the corresponding Kantian definition of autonomy. Yet Adorno does not simply discard the Kantian concept of autonomy. On the contrary, he will try to correct it by returning to it what it lacks, namely, intimacy or ‘live contact with the warmth of things’. In this gesture, he aims to restore to autonomy its ethical substance or lived ethical context, not as a mere supplement to the purity of duty, but rather as necessary to the very process of becoming mature. This article examines Adorno’s concept of maturity in the context of the dialectical relationship between autonomy and intimacy

This paper addresses the question of normativity in Hegel by examining the role of ‘undialectical’ resistance to dialectical development. Beginning with a general overview of dialectical normativity and what it might mean to be ‘undialectical,’ the focus then shifts to a privileged example in Hegel’s writings: Sophocles’ Antigone. The central claim of the paper is the following: The very contradictions that fuel dialectical normativity can also trap individuals within an obsolete actuality, without immediate hope of escape. Indeed, the irreducible dependence of dialectical thinking upon the actions and decisions of individual consciousness expose it to the threat of continual stasis or regression. This ineliminable possibility of failure is what is here called the ‘undialectical’ moment of the dialectic, which Hegel understands rather as a negative condition of possibility of freedom and rationality

L’oeuvre de Theodor W. Adorno, et plus particulièrement sa Théorie esthétique, témoigne de sa défense soutenue de l’art moderne. Toutefois, dans le cadre de ses réflexions, on ne doit pas oublier qu’elle comporte également une dimension critique. Sa polémique à propos du jazz, par exemple, est devenue célèbre. Par contraste, sa critique de la peinture monochrome demeure relativement inconnue. Ce texte propose d’abord d’esquisser les éléments de celle-ci afin de tester ensuite ses limites en analysant une oeuvre monochrome d’Yves Klein: IKB 79.Theodor W. Adorno’s defence of modern art in Aesthetic Theory and other writings is well known, as is his scathing attack on jazz. Less well known is his critique of monochromatic painting. This article first sketches the stakes and terms of this critique in relation to Clement Greenberg’s dismissal of much monochromatic or near-monochromatic painting, before moving on to an analysis of Adorno’s position. For the purposes of this analysis, Yves Klein’s IKB 79 serves as a test case

ABSTRACT: Jean-Michel Salanskis’ La gauche et l’égalité surveys a number of well-known principles of leftist thought in order to criticize certain illusions to which it falls prey, but also in order to renew its most essential motivation: the search for equality. However, in so doing, Salanskis deploys an ambiguous and problematic notion of possibility that threatens the coherence of his project. The present study analyzes aspects of Salanskis’ book, taking possibility as a guiding thread, and proposes adjustments that may help to avoid certain classic pitfalls in the history of dialectical thinking.

According to a longstanding metaphysical tradition, actuality is prior and in some ways superior to possibility. From Aristotle to Hegel, the exceptions to this fundamental belief are fairly rare; but there is a marked trend in post-Hegelian thought to undermine this traditional priority, with Theodor W. Adorno representing an important line of attack. Here, the guiding question is: how does Adorno take issue with Hegel's version of the thesis on the subordination of possibility to actuality? Indeed, certain key aspects of Adorno's utopianism can only be understood as a reaction to Hegel's theory of actuality. Specifically, Adorno defends a type of possibility that has no place in Hegel's system and so, in essence, sketches a revised dialectical theory of modality.

Certaines lectures récentes de Hegel ont mis l’accent sur la dimension sociale de la philosophie de Hegel afin de parer les exagérations et les méprises courantes concernant son idéalisme. Robert Brandom, par exemple, a relevé des «thèmes pragmatiques dans l’idéalisme de Hegel». Mais une question d’ordre général se pose: cette stratégie déflationniste rend-elle réellement justice à la pensée de Hegel? Qu’advient-il des conditions logiques requises pour la connaissance et l’action, auxquelles Hegel attache beaucoup d’importance, et comment ces conditions cadrent-elles avec les dimensions naturelles et sociales de l’expérience? En tablant sur des passages de l’Encyclopédie et d’autres textes, le présent article argumente en faveur d’un transcendantalisme modeste chez Hegel, afin d’éviter la rectification exagérée qui consiste à réduire le concept du concept chez Hegel à un réseau de pratiques sociales

Adorno's remarks on the philosophy of history are scattered throughout his works. Perhaps the most important passages are to be found in Negative Dialectics and the 1964–1965 lectures on History and Freedom, as well as in texts such as Dialectic of Enlightenment and the essays on “The Idea of Natural‐History,” “Progress,” and “The Meaning of Working through the Past.” However, these works do not constitute anything like a complete theory. Nevertheless, many themes and references recur in Adorno's writings, allowing for a selectively thematic reconstruction of the most central lines of argument. The present text brings together a few concepts and problems from Adorno's readings of Kant, Hegel, and Marx, mainly, in order to provide the reader with a general picture of what is at issue.

Hegel's concepts of force and power (absolute power, absolute force, infinite power, the power of the negative, the power of the Concept, etc.), scattered throughout the works, are doubled by other passages where Hegel speaks of various forms of impotence or powerlessness (Ohnmacht). What is powerlessness? In effect, for Hegel, powerlessness generally designates a defect or a deficiency, or a kind of laziness or contingent immaturity that prevents the Concept from fully realizing itself, even though its power is, on another level, absolute. Powerlessness (Ohnmacht) is a lack of power (Macht). But how is absolute power related to a relative lack of power? If power is absolute, then why is it that a little power isn’t always enough? Or alternatively, why does powerlessness have a role to play at all in a system where the power of the Concept determines everything inexorably? How do these two terms relate to each other in Hegel’s thought, especially in the context of the Subjective Logic?

In the final lines of the Phenomenology of Spirit, Hegel makes the complex claim that the contingency of history and the science of knowing in the sphere of appearance together constitute a “conceptual history” (begriffene Geschichte, a ‘conceptually comprehended’ history). What is this suggestive but frustratingly obscure formula meant to convey? The question is vexing, not least because the Phenomenology itself is neither a philosophy of history nor a philosophical history in any traditional sense; it rather takes the form of a quasi-historical narrative that picks up on the difficult problem of philosophy’s relation to history. For this reason, the attempt to understand what Hegel might mean by the term may be helped along by a critical analysis of selected aspects of his philosophy of history. The limits of the question therefore go beyond the specific project of the Phenomenology, though answering the question will involve returning to one of the central themes of that book, namely, the concept of experience (Erfahrung). The aim here is not so much to evaluate Hegel’s theory of world history as it is to gain a better understanding of how in general he understands historical knowledge in relation to philosophical knowledge of the absolute—a central concern throughout his career.