... for his retreat into socially indifferent aestheticism. But his actual view was that art can remain art only if it is responsive to human suffering. For Adorno, it is only by virtue of its relative autonomy that art can address social suffering and sustain a critical posture toward the world. It remains...

... and prejudices and of misreading the autonomy of literature as an end in itself. Foster establishes this position by looking at Stanley Corngold's essay “Adorno's ‘Notes on Kafka,’” particularly Adorno's account of Kafka's “gnosticism.” Foster then draws on Adorno's recently published lectures on aesthetics...

... Rosa’s critique of social acceleration and argues that this critique lacks a firm normative basis. This basis is required, however, for one to claim why certain processes of social acceleration are wrong. It is shown that Rosa’s analyses of acceleration contain two suggestions for such a basis: autonomy...

... structure. Even as the film constructs an ostensibly powerful gaze, it undermines the spectator's autonomy, repeatedly drawing attention to the cinematic apparatus that guides—even manipulates—the viewer and revealing the illusory nature of the control ostensibly afforded him or her. © 2013 by New German...

... to Blumenberg's anthropology, the need to turn away from the world in order to engage with it is a distinctly human trait. However, second-order cybernetics and Niklas Luhmann's social systems theory offer ways to conceptualize this “involution” as a general feature of living things, whose relative autonomy...

... the subject to express itself, perhaps not free from the “objective” constraints of society but with considerable relative autonomy. Romantic-modernist re-creative resistance to an illusory “solution” of the problems Bach's music continues to present offers greater scope for historical transformation...

... but also ensures that it may take no action on behalf of the suffering that it expresses. This analysis is then used to consider the possible status of the angel in the moment of contemporaneity, as art embraces sociality and faces a weakened autonomy. Copyright © 2020 by New German Critique, Inc. 2020...

... as a differential of protagonists’ possible forms of agency and autonomy in a world defined by passivity and heteronomy. The political subtext of Lukács’s early theory of the tragic pursues a double agenda of historical symptomatics (defining tragedy as the genre of a class achieving consciousness of its own...

.... The essay characterizes the project of modernity as twofold. Modernity develops the separate value spheres of science, morality,   9. Bernstein defends the principle of aesthetic autonomy posited by Adorno’s aesthetic theory against the dominating force of instrumental reason and challenges...

... is resolutely subjective and must distance itself from the empirical characteristics of the object to preserve autonomy. The subjective nature of aesthetic pleasure is evident because Kant identifies the free play between imagination and understanding (“a merely formal purposiveness”), which refers only...

... this tension. In contrast to other commentators, the present article shows that Adorno’s main concern was not whether film could become autonomous. If film is to become a medium for criticism and reflection, filmmakers should stop attempting to achieve autonomy and focus on what the medium can do given its...

...-renunciation. By comparing and contrasting these two concepts, one can grasp the contrary processes at work in each theory. Both models of sovereignty posit a crisis of the self resulting from its objectness. Through this crisis the subject’s supposed autonomy is radically called into question when confronted...

... education) and individual autonomy instead of a fascist ideology that had dominated the German university between 1933 and the defeat of the Third Reich? This is, for instance, how the philosopher Karl Jaspers understood his intervention of 1946 and his call to retain the principles of Humboldt’s...

... Autonomie der Kunst,” 245 ). 22. The engagement with Adorno’s late text “Art and the Arts,” which has been taken up again and again since Christine Eichel’s Vom Ermatten der Avantgarde zur Vernetzung der Künste , not only was an overdue upgrade to media theory but also stood very much...

... the horizon of liberalism by showing respect for the autonomy of each domain rather than transcending that horizon by arguing for the ultimate “sovereignty,” so to speak, of the political.8 That Schmitt tried to respond to this charge brings up the second point: Schmitt is an implacable critic...

... articulated the twin crises of knowledge and human agency behind much recent conspiracy thinking. These crises—one about knowledge and interpretation, the other about the uncertain line between individual autonomy and social regulation—have contributed substantially 13. For more detail...

... . Cultural Critique 1 , no. 2 : 125 – 39 . ———. 1989 . The New Conservatism: Cultural Criticism and the Historians' Debate , edited and translated by Nicholsen Shierry Weber . Cambridge, MA : MIT Press . ———. 1992 . “The Limits of Neo-historicism.” In Autonomy and Solidarity...

... mised the possibility of autonomy for the art object, forcing it to become utili- tarian and transforming it into an industrial commodity.30 Further, the appar- ent failure of the Soviet Union to successfully construct an alternative to the utopian fantasy of the marketplace is frequently seen...

... that resulted from secularization and the Enlightenment ideals of autonomy, justice, and equality. With the advent of the market econ- omy, the family itself became a different kind of economic unit, and with this change, the meaning of love evolved. Before the nineteenth century, the norm...

... itself.16 According to Friedländer, Vernunft (reason) is the foundation for all metaphysics. Art, like science and ethics, has its own autonomy in the Kantian philosophical system because of the relationship between aesthetic judgments and reason: As it is since Kant, in science...