Jordan Daniels

ABSTRACT This article connects three elements of Theodor Adorno’s critical theory and contemporary ecological feminism: the critique of a strict dualism between nature and human activity, the role of care in moral thinking, and considerations of “the animal” in ethical frameworks. First, the author unpacks Adorno’s critical concept of “natural-history,” Naturgeschichte, which gives philosophy a two-pronged task: to denaturalize history and to historicize nature. After the article demonstrates that complicating the dualism between nature and history has consequences for ontology and our sense of “what things are,” the author further suggests that the concept of natural-history critically modifies ethics and the terms concerning “what we ought to do.” By examining the critiques of rationalist moral approaches in the work of Adorno, Carol Gilligan, and Deborah Slicer, the article argues for an ethics of care that resists both the false naturalization of contingent history and the denigration of the nonhuman.

In The End of Progress, Amy Allen connects post- and decolonial concerns about the implications of the concept of progress to contemporary critical theory. In the work of Jürgen Habermas and Axel Honneth, progress—as historical development and sociocultural learning—has taken on the load-bearing role in grounding normativity. Allen seeks to decolonize critical theory “from within” by recuperating Adorno and Foucault’s more ambivalent conceptions of progress. While such a move does not itself amount to “decolonizing” critical theory, Allen helps to inaugurate this important exchange via her convincing critique of some of the leading figures of critical theory today.

While Theodor Adorno is known for his philosophical reconstruction of aesthetic modernism, he also analyzes—and is critical of—the demotion of natural beauty in the hierarchy of aesthetic concerns following Kant. Recent scholars have acknowledged that natural beauty is important in Adornian aesthetics, but many do so in a manner that repeats the subordination of natural beauty and the aesthetic experience of nature to that of art. Against this tendency, in this article I demonstrate that not only does Adorno contest the inferiority of the aesthetic experience of nature but his unconventional description and theoretical articulation of natural beauty is especially pertinent for our time of climate crisis. By unpacking his endorsement of Walter Benjamin's casting both nature and history in terms of transience, I argue that Adorno proposes an experience of natural beauty that is expressive of social historical content, offers a vision of a different relationship with nature, and discloses ethical claims on us to act in this world.