By Gillian Rose
The depression Science is Gillian Rose’s research into Theodor Adorno’s paintings and legacy. Rose uncovers the team spirit discernable among the numerous fragments of Adorno’s oeuvre, and argues that his influence has been to show Marxism right into a look for style.
The makes an attempt of Adorno, Lukács and Benjamin to advance a Marxist theory of tradition targeted at the suggestion of reification are contrasted, and the ways that the idea that of reification has come to be misused are uncovered. Adorno’s continuation for his personal time of the Marxist critique of philosophy is traced via his writings on Hegel, Kierkegaard, Husserl and Heidegger. His competition to the separation of philosophy and sociology is proven via exam of his critique of Durkheim and Weber, and of his contributions to the dispute over positivism, his critique of empirical social learn and his personal empirical sociology.
Gillian Rose exhibits Adorno’s most crucial contribution to be his founding of a Marxist aesthetic that gives a sociology of tradition, as demonstrated in his essays on Kafka, Mann, Beckett, Brecht and Schönberg. eventually, Adorno’s ‘Melancholy technology’ is printed to offer a ‘sociology of phantasm’ that competitors either structural Marxism and phenomenological sociology in addition to the next paintings of the Frankfurt tuition.
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Additional resources for The Melancholy Science: An Introduction to the Thought of Theodor W. Adorno
Sample text
They each centred their later work on Marx's theory of commodity fetishism, construed in a way which displayed continuities with their earlier work and with the other critical traditions which they had inherited, but in a way which evinced a deeper grounding in Marx than is evident in Simmel's writings. In each case the discovery of Marx encompassed the discovery of society, that is, of the social determinations of human activity, and made it necessary for the writer to define his relationship with the sociological tradition.
102 Adorno comments that Lukacs has seen how the 'historical, as what has passed, is formed into an apparent nature' and how 'rigidified history is nature', but that he offers no way to decipher this. 103 Benjamin does- by defining nature itself as transitory, as passing, and therefore as intrinsically historical. Adorno generalises Benjamin's theory of seventeenth-century Trauerspiel, so that all history is the history of the fall of nature. Each generation sees this history on the face of nature.
In Adorno's work the link is established by the theory of reification which purports to describe the mechanism of domination in a specific mode of production. This theory, too, is presented in a variety of ways, some of them apparently self-contradictory, such as 'total reification', 'total control', 'the end of the individual'. For Adorno is dramatising these ideas, presenting them as if they were absolutely and literally true, in order to undermine them more effectively. Chapter 3 The Lament over Reification Reification as a Sociological Category The concept of reification has been overworked in sociology and thus made to bear an enormous amount of theoretical responsibility.