Jenny Bernstein

Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts.

In this unflinching look at the experience of suffering and one of its greatest manifestations—torture—J. M. Bernstein critiques the repressions of traditional moral theory, showing that our morals are not immutable ideals but fragile constructions that depend on our experience of suffering itself. Morals, Bernstein argues, not only guide our conduct but also express the depth of mutual dependence that we share as vulnerable and injurable individuals. Beginning with the attempts to abolish torture in the eighteenth century, and then sensitively examining what is suffered in torture and related transgressions, such as rape, Bernstein elaborates a powerful new conception of moral injury. Crucially, he shows, moral injury always involves an injury to the status of an individual as a person—it is a violent assault against his or her dignity. Elaborating on this critical element of moral injury, he demonstrates that the mutual recognitions of trust form the invisible substance of our moral lives, that dignity is a fragile social possession, and that the perspective of ourselves as potential victims is an ineliminable feature of everyday moral experience.

In The Melancholy Science and the lecture series Marxist Modernism, Gillian Rose reconstructs Theodor W. Adorno's critical theory of society through the exposition of his theory of reification. Strikingly, Rose argues that it is Nietzsche and not the Hegelian Marxism of Georg Lukács that is the engine of Adorno's theory. Although she argues that Adorno's critical theory is an advance beyond what preceded it, she contends in Hegel Contra Sociology that it finally collapses into a form of abstract neo-Kantianism, a propounding of what ought to be in isolation from what is. This forces her to abandon reification theory and hence Marxism as the essence of a critical theory of society and turn to Hegel's speculative philosophy. In the age of climate catastrophe as the constituting crisis of our time, the abandonment of reification theory must be contestable. This paper argues that Lukács’ fellow Galileo Circle comrade, Karl Polanyi, propounds a theory of reification in which the account of the meaning of the commodification of land, labor, and money precisely answers to the need for a critical theory in the age of climate catastrophe.

In this interview with Michael Lazarus, Jay Bernstein reflects on the history of his intellectual friendship with Gillian Rose—until her early death, his dearest friend. It was a friendship rooted in a shared passion for Hegel's philosophy as the ground origin and abiding source of Marxist Critical Theory. In the course of the interview, Bernstein comments on the role of speculative propositions in Rose's reading of Hegel; her modernist understanding of the meaning of style even after her critique of Adorno on style; on her obsession with critiquing post-structuralism; her continuing allegiance to Marxism; his understanding of her turn to political theology; the significance of Marx's “On the Jewish Question” for her and him; the meaning of law in Rose's thought as well as in his; the power and courage of her last book, Love's Work, its work of affirmation. He concludes with a reflection on his sense that she is a thinker whose fate is to be loved, studied, forgotten, and then discovered anew.