By Steven Helmling
Adorno's Poetics of Critique is a serious research of the Marxist culture-critic Theodor W. Adorno, a founding member of the Frankfurt college and largely seemed this present day as its such a lot really good exponent.
Steven Helmling is centrally eager about Adorno's notoriously tough writing, a characteristic such a lot commentators recognize in basic terms to set it apart as a way to an expository account of 'what Adorno is saying'. in contrast, Adorno's advanced writing is the important concentration of this learn, including distinctive research of Adorno's most intricate texts, particularly his most famed and intricate paintings, co-authored with Max Horkheimer, Dialectic of Enlightenment.
Helmling argues that Adorno's key motifs - dialectic, notion, negation, immanent critique, constellation - are prescriptions now not basically for severe considering, but additionally for serious writing. For Adorno the efficacy of critique is conditioned on how the writing of critique is written. either in idea and in perform, Adorno urges a 'poetics of critique' that's every piece as serious as the rest in his 'critical theory.
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Additional info for Adorno's poetics of critique
The chapter closes with detailed readings of that book’s 1944 ‘Introduction’, in which the deliberate ‘difficulty’ of the text is thematized as motivated by the difficulties, both intellectual and emotional, of its historical problem and occasion (enlightenment’s traumatic devolution into the barbarism of World War Two), and of the book’s first chapter, which enacts the program (both critical and affective) for which the ‘Introduction’ serves as manifesto. The larger aim is to describe, evoke, and, in ways other commentators on Adorno seem to me to have missed, to account for the sheer power and voltage of Adorno’s work, in which thinking and writing—and feeling—seethe, and in their agitation impel each other to levels of force quite unlike anything to be found in the work of anyone else.
It could equally well be said . . that [after Auschwitz] one must write poems, in keeping with Hegel’s statement in his Aesthetics that as long as there is an awareness of suffering among human beings there must also be art as the objective form of that awareness. . [The question whether one can write poetry after Auschwitz should rather be] the question whether one can live after Auschwitz. . Since it concerns the possibility of any affirmation of life, this question cannot be evaded.
In relation to the questions that Adorno’s critical-aesthetic ‘labor of the affects’ seems to me to raise for a reading of Dialectic of Enlightenment. The chapter closes with detailed readings of that book’s 1944 ‘Introduction’, in which the deliberate ‘difficulty’ of the text is thematized as motivated by the difficulties, both intellectual and emotional, of its historical problem and occasion (enlightenment’s traumatic devolution into the barbarism of World War Two), and of the book’s first chapter, which enacts the program (both critical and affective) for which the ‘Introduction’ serves as manifesto.
Adorno's poetics of critique by Steven Helmling