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This paper intends to present some considerations on a possible epistemology of noise as a response to theory of recognition and its bases on theory of communicative action. The principal movement will be to recover some aspects of Marcuse’s and Foucault’s perspective on the disturbances narratives in social sphere. The interest for them becomes stronger from Habermas’ perspective on their “performative contradicions”. Both of them would appeal to social aspects that escapes from critical normativities. Foucault’s structures of power as well as Marcuse’s psychoanalytical drives would represent aspects of the same Habermasian problem: the absence of auto-critical rationality. However, we can question: what would offer to the two authors the limits of communicative action?
The papers here collected are divided in an English and an Italian section, to facilitate the reader who is confident, or prefers, only one of these languages. In both sections, Critical Theory is addressed in a twofold way: as regards its origins in the so-called School of Frankfurt and as concerns its further and contemporary developments, from an interdisciplinary perspective.
Critical Theory offers a new way to understand not only the society, but also the individual. In particular, I will focus on the thought of Adorno and his conception of society.
First, I want to investigate the Adornian description of society in its totalitarian face and in its paradoxical relationship with the individual. The individual, first element of society, without which any society cannot be imaged, paradoxically finds – in the society – its liquidation and destruction.
Secondly, I want to consider the Adornian revolutionary statement in a conversation with Horkheimer of a need of a “New Manifesto”. Do we need it even today? Would be really possible a new Marxian society in our world? The attempt to answer to those questions will conclude my paper.
The evolution of Critical Theory in the thought of Jürgen Habermas has important consequences for political questions, influencing the actual intellectual debate. This paper examines the main works and studies of Habermas about the epistemology of social sciences, the critique of late capitalist society, the public sphere and democracy, and proposes a comparison with the positions of Jacques Derrida, to have a better comprehension of this evolution.
Critical Theory is the key-word representing all the universe of thought commonly known as „Frankfurt School”. Within it, Theodor Wiesengrund Adorno and Herbert Marcuse are not so far each other, as instead are Max Horkheimer and Marcuse – considering what I in this paper define as the conservative turn of the director of the Institut für Sozialforschung. Whereas Adorno refuses any engagement in the political and lives as an obsession the theory-praxis relation, Marcuse is closer to a certain critical Marxism and to the student movements of Sixities and Seventhies. The crucial issue of the theory-praxis relation comes back clearly in the distance between Marcuse and the other two maîtres à penser, about their judgment on the ’68 movement.
The one-dimensionality of econometric data: the Frankfurt School and the critique of quantification
(2020)
Econometric data are used to produce authoritative facts about the world. Yet, as numbers enjoy a central place in modern reasoning (particularly in government as their presumed objectivity and neutrality assist impartial decision-making), it is important that they receive scrutiny. Using methodological techniques from Western Marxism, with special reference to the work of Lukács, Horkheimer and Adorno, and Marcuse to inform a critique of Acemoglu and Robinson, I argue that the historical emergence of econometrics as a mode of mediated knowledge is a reified practice within the broader technical administration of social life, a practice that is not a transparent representation of social phenomena. This is because when econometrics transforms the thing being measured into a statistical indicator it eclipses political disputes with technical disputes, sidestepping good faith democratic deliberation about what goods are worth pursuing. Effectively, one-dimensional thought cannot perceive the origins of items put into circulation and so ideology is produced – what seems value-free is value-laden.
Este artigo pretende analisar o efeito da operação de enquadramento editorial levada a cabo pela Editora Sur, vinculada à Revista Sur, na circulação do repertório frankfurtiano na Argentina da década de 1960. Ao traduzirem e divulgarem autores como Adorno, Horkheimer e Benjamin, a partir de sua posição específica no campo cultural argentino, a coleção Estudios Alemanes contribui para que seus autores sejam desvinculados da tradição marxista e alocados em uma categoria mais ampla de “pensamento alemão”. Com isso, a circulação desses autores fica restritra a certo público, já cativo da perspectiva teórica e política da Revista Sur. Neste artigo, descrevo a coleção nos marcos da difusão mais ampla da tradição alemã no campo letrado argentino, atentando para os deslocamentos de prestígio que ela mobiliza e, sobretudo, para a composição de uma “atitude intelectual” que, a despeito do conteúdo dos textos em circulação, condiciona a recepção e ressignificação dos textos frankfurtianos.
The essay focuses on the impact of Marcuse’s Eros and Civilization in Germany in 1968. First, the essay discusses how Freud’s theory was used in the late twenties at the Institute for Social Research in Frankfurt. Then, it focuses on how certain of Adorno and Horkheimer’s ideas were developed in Eros and Civilization. Finally, it shows how Marcuse’s work became relevant for the intellectual development of the student movement in Germany.
Historiadora do cinema, Miriam Hansen examinou e sistematizou as contribuições de Siegfried Kracauer, Walter Benjamin e Theodor Adorno para a teorização do cinema. Nesta pesquisa bibliográfica, buscamos sintetizar e apresentar aos leitores de língua portuguesa o desenvolvimento de sua investigação sobre o tema. Mostramos como Hansen foi capaz de identificar as principais diferenças entre os teóricos frankfurtianos, bem como evidenciar que eles, em comum, pensaram este fenômeno cultural contemporâneo em relação às condições sociais e econômicas de produção. Em suas reflexões, o cinema aparece como expressão da sociedade urbano-industrial, como um elemento sintomático da cultura de massa.