Michael J. Thompson

This book reconstructs the concept and practice of dialectics as a means of grounding a critical theory of society. At the center of this project is the thesis of phronetic criticism or a form of reason that is able to synthesize human value with objective rationality. This book argues that defects in modern forms of social reason are the result of the powers of social structure and the norms and purposes they embody. Increasingly, modern societies are driven not by substantive values concerning human good but by the technical imperatives of economic management leading to a cultural condition of nihilism that has eroded dialectical consciousness. The first half of the book demonstrates the various ways that social power erodes and undermines critical-rational forms of consciousness. The second part of the book constructs an alternative basis for critical reason by showing how it requires seeing human value as essentially ontological: that is, constituted by objective forms of sociality that either promote human freedom or pervert our capacities and drives toward pathological forms of life. The philosophical claim is that a critical theory of ethics must be rooted in these concrete forms of life and that this will serve as a critical vantage point for critical political judgment and transformational praxis. Descent of the Dialectic will be of interest to researchers working in philosophy, political theory, social theory, and critical theory.

This paper is designed to respond to the conference theme of making business ethical specifically within a marketing context. Ethical marketing challenges marketers to move away from illusory and deceptive brand promises to make way for a form of marketing which serves the consumer with creative and truthful messages. The paper markets virtue to marketers whilst exploring existing marketing deontologies and the problem of the depersonalised relationship between marketer and consumer. ‘Marketing virtue’ is approached within an ontology that begins with the marketer as a moral agent. Six virtues–based principles are proposed as a creative resource to improve the ethical performance of contemporary marketing. True prosperity for both marketer and consumer is seen within the Aristotelian concept of ευδαιμονια

This paper is designed to respond to the conference theme of making business ethical specifically within a marketing context. Ethical marketing challenges marketers to move away from illusory and deceptive brand promises to make way for a form of marketing which serves the consumer with creative and truthful messages. The paper markets virtue to marketers whilst exploring existing marketing deontologies and the problem of the depersonalised relationship between marketer and consumer. ‘Marketing virtue’ is approached within an ontology that begins with the marketer as a moral agent. Six virtues–based principles are proposed as a creative resource to improve the ethical performance of contemporary marketing. True prosperity for both marketer and consumer is seen within the Aristotelian concept of ευδαιμονια (eudaimonia).

Radical Intellectuals and the Subversion of Progressive Politics is a challenge to contemporary radical politics and political thought. This collection of essays critiques the dominant trends and figures on the left that have distorted the legacy of progressive politics, arguing that they have moved politics away from issues of class and economic power toward a preoccupation with culture and identity. The contributors discuss this new radicalism from the perspective of a more rational form of leftism capable of reviving interest in a more politically relevant form of politics.

In this new work, political theorist Michael J. Thompson argues that modern societies are witnessing a decline in one of the core building blocks of modernity: the autonomous self. Far from being an illusion of the Enlightenment, Thompson contends that the individual is a defining feature of the project to build a modern democratic culture and polity. One of the central reasons for its demise in recent decades has been the emergence of what he calls the cybernetic society, a cohesive totalization of the social logics of the institutional spheres of economy, culture and polity. These logics have been progressively defined by the imperatives of economic growth and technical-administrative management of labor and consumption, routinizing patterns of life, practices, and consciousness throughout the culture. Evolving out of the neoliberal transformation of economy and society since the 1980s, the cybernetic society has transformed how that the individual is articulated in contemporary society. Thompson examines the various pathologies of the self and consciousness that result from this form of socialization--such as hyper-reification, alienated moral cognition, false consciousness, and the withered ego--in new ways to demonstrate the extent of deformation of modern selfhood. Only with a more robust, more socially embedded concept of autonomy as critical agency can we begin to reconstruct the principles of democratic individuality and community.

Adorno was deeply influenced by ideas about the rationalization of mass society and effects of commodification on consciousness. The work of Max Weber and Georg Lukács were dual influences that shaped much of Adorno's own work. He develops his critique of the “totally administered society” as a confluence of Weber's rationalization thesis as well as Lukács' theory of reification of consciousness due to the penetration of the commodity form into everyday life. But Adorno moves beyond these ideas by arguing that the spread of exchange‐value and quantification, carried forth via the commodity form, collapses the modern individual and its consciousness into the prevailing forms of dominant rationality. I then show how his later projects of Negative Dialectics and Aesthetic Theory seek to protect the subject from these trends and then reflect on how Adorno's ideas can be brought together with Lukács' later ideas about social ontology in order to glimpse a broader concept of Critical Theory.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 218-220 [Access article in PDF] The German Aesthetic Tradition, by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002, $22 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, aesthetics, as a project or tradition, has surrendered its once monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics, and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgment them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world, and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."However, Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and often abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture, and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition [End Page 218] wrestle with this dual conception of art, in some form privileging one over the other—or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself, making Hammermeister's task more complex. Yet it is one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy, and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as a wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art and culture, thought, and morality. Schiller writes that, "the culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm, and another tendency within the tradition of German aesthetics; that is, the aestheticization of other domains of human existence.Schelling and Hegel represent two other...

I argue in this paper for a critical social ontology, or an approach to theorizing social reality and social institutions that is more than descriptive of social reality, but is also able to provide practical reasoning with an ontological dimension for judgment. At the heart of this idea is a different take on social metaphysics from most standard current accounts in that it begins with empirical, phylogenetic capacities of human beings for social practices (realizing abstract thought in the world) as well as relationality (the need for attachments to others). The combination of these two essential human capacities, what I call the practical‐relational nexus, is generative of more complex social reality. The ontogeny of any social reality is the result of the ways that this practical‐relational nexus has been organized and shaped by external social structures and systems, themselves the product of certain kinds of social power. I then explore the metaphysics of social power before considering the ways that this approach to social metaphysics can inform practical reasoning with the capacity for social and political criticism.

In this paper, I outline the ways that reification as a pathology of what I call “cybernetic society” shapes the fundamental structures of the self and our shared social reality. Whereas the classical theory of reification was a diagnostic attempt to understand the failure of class consciousness, I believe we must push this thesis further to show how is fundamentally an ontological and not a merely cognitive or epistemic concern. By this I mean that it is a pathology of consciousness as well as social praxis and, as such, infects the ontological substrates of social reality. In effect, reification is a collective rather than merely subjective phenomenon. I explore this dialectic between our subjective and social dimensions of being to show how reification actively shapes self and world. I end with a discussion of how this theory of reification as an ontological concept can be used to overcome it via what I term “ontological coherence,” or the capacity of the self to reflect dialectically on the shapes of sociality that one inhabits, opening it up to evaluative reflection and critique.

I propose a theory of domination derived from republican political theory that is in contrast to the neo-republican theory of domination as arbitrary interference and domination as dependence. I suggest that, drawing on of the writings of Machiavelli and Rousseau, we can see two faces of domination that come together to inform social relations. One type of domination is extractive dominance where agents are able to derive surplus benefit from another individual, group, or collective resource, natural or human. Another is what I call constitutive domination where the norms, institutions, and values of the community shape the rationality of subjects to accept forms of power and social relations and collective goals as legitimate forms of authority. Each of these make up two faces of a broader theory of social domination that is more concrete and politically compelling than that put forth by contemporary neo-republican theory. I argue that this understanding of domination should be seen as a kind of ‘radical...

This article presents a critique of Philip Pettit’s concept of ‘freedom as non-domination’ and provides an alternative theory of both domination and republican political freedom. I argue that Pettit’s neo-republican concept of domination is insufficient to confront modern forms of domination and that this hampers his concept of republican freedom and its political relevance under the conditions of modernity. Whereas the neo-republican account of domination is defined by ‘arbitrary interference’, modern forms of domination, I argue, are characterized by routinization and systemic forms of control and subordination. In the end, the neo-republican account of domination is more appropriate for 17th- and 18th-century social institutions rather than those that persist under modernity. In its place, I propose a more dynamic concept of domination and rework the concept of freedom in order to place the republican tradition within the context of modernity itself. I argue that the core insight of republicanism is its emphasis on the arrangement and reformation of social institutions to enhance social freedom. From this, I argue that republicanism can take its place as a more attractive alternative to liberal theory

I propose and outline an ethical theory of waste not as refuse or garbage, but rather as a property of activities and practices. On my account, waste results when resources are utilized in society in such a way that the maximum number of individuals within the community are unable to benefit from the collective resources and efforts of social activities. I point to three ethical “dimensions” of waste: socially unproductive activity, under-utilization of resources, and the mis-utilization or mis-direction of resources. Each of these dimensions accounts for different kinds of practices and activities as well as institutional arrangements within any society. As I see it, waste emerges when those resources are employed and utilized in ways that do not maximize their potential benefits for what I term socially valid ends. In this sense, waste can be seen to adhere to practices, activities, and systems of production and consumption that do not benefit the largest possible share of the society. I end by considering the relevance of this ethical concept of waste for a broader theory of social justice

The renaissance in the study of Hegel’s political and social philosophy has focused in recent years on moral thought, ethics, law, political institutions, categories of social freedom and other themes which Hegel laid out primarily in the Philosophy of Right. Curiously missing from many of these studies is the relation of political economy—or economics more generally— to the larger body of Hegel’s political theory and philosophy. Added to this is the ostensible decline of Marxism which has also led to new attempts at importing dialectics into modern social scientific research.

This paper considers the roots of the dissonance between political modernity and Islamic societies. It argues that primacy has to be given to the analysis of different paradigms of 'ethical life' which are ways in which ethical-political categories are organized within society. A distinction is made between 'nomocentric' and 'rights-based' paradigms of ethical life, the former associated with a system of moral duties and the latter with a system of political and ethical rights accorded to the individual. I argue that the emphasis on a nomocentric paradigm of ethical life has the effect of suppressing the development of a rights-based ethical and political discourse in large enough segments of the society to limit a progressive change toward political modernity. I further analyze the ways in which forces of social and economic modernisation play a role in antagonizing the relation between modernity and the more traditional forms of ethical life which predominate in Islamic society and political/ethical thought

I provide a critique of Axel Honneth’s theory of recognition by calling into question the extent to which recognitive relations are immune to the effects of social and economic power and their ability to shape consciousness and moral cognition. I maintain that as a theory of socialization, Honneth’s theory is inadequate to deal with the strong structural-functional forces that hold administrative-capitalist societies together. This has the effect of constituting subjectivity in particular ways, and this problem of the constitution of the personality and consciousness of individuals vitiates the descriptive and normative claims of the theory of recognition. I end by considering an alternative way to view recognition and its role in promoting a form of critical subjectivity

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 478-480 [Access article in PDF] The German Aesthetic Tradition,by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002; $60.00 cloth; $22.00 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, as a project, as a tradition, aesthetics has surrendered its once monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgement them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."But Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and oftentimes abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition wrestle with this dual conception of art in some form privileging one over the other or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself making Hammermeister's task more complex, one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as [End Page 478] articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art with culture, thought and morality. "[T]he culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm and another tendency within the tradition of German aesthetics, i.e., the aestheticization of other domains of human existence.Schelling and Hegel represent two other...