Stephen James Ernest Norrie

The question “What is philosophy?” is difficult to answer because it seems to presuppose answers to long‐standing and controversial philosophical questions. As answers to these questions affect one’s metaphilosophy, apparently irresolvable philosophical disagreements are then converted into deadlock concerning the nature of the discipline. As this problem is unique to philosophy, however, this difficulty itself reveals something of philosophy’s essential nature. As, under analysis, it turns out to arise from a definite way of posing problems, philosophy can initially be defined by a particular mode of problematisation. This essay establishes this argument and proposes a method for developing this insight into a fully realised, socio‐historical metaphilosophy. This involves stages of (a) hermeneutical analysis and (b) historical contextualisation, both of which increase the account’s empirical adequacy. A conclusion discusses the extent to which philosophy is on trial here and argues that questioning the future of philosophy is not inherently philistine.

György Márkus’s post-Marxist writings on high culture are evaluated in terms of their possible contribution to a neo-Marxist theory of high culture. Because of the highly essayistic character of Márkus’s presentation, this necessarily involves investigation of their dependence on his previous work. According to Márkus, Marxism can be critically reconstructed and superseded on the basis of an independent theorization of the consequences of Marx’s most basic theoretical move: the identification of production as paradigmatic for social action in general. In section 3 this idea of the production paradigm is criticized. In section 4 I show how in Márkus this idea is made the basis of an ostensibly historicist concept of critical theory, in which not only the theory’s object is historicized, but the theory is itself organized as an articulation of the needs of historically specific constituencies. I argue, however, that in reality the idea of the production paradigm stands in fundamental contradiction to this methodological ideal. Márkus’s theory of high culture likewise combines historicist ambitions and reliance on the dehistoricized ‘production paradigm’. I argue that his ‘systematically dialectical’ deployment of this notion allows a quasi-historicist conceptualization of modern high culture as a whole, but that this method simultaneously renders theorization of high culture’s connection with more ‘infrastructural’ social relations problematic, and tends to exclude reflection on the ‘utopian moment’ in high cultural practice today. Section 5, and some remarks at the end of Section 11 suggest horizons for a genuinely historicist theory of high culture, in relation to the constitutive failure of Marxism to confront its dependency on the institutions of high culture, and also suggest a possible confluence and conflict with Roy Bhaskar’s work.