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Routledge Companion to Philosophy and Film

Written by son of rambow on Thursday, July 08, 2010

"The Routledge Companion to Philosophy and Film" is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The "Companion" features sixty specially commissioned chapters from international scholars and is divided into four clear parts: issues and concepts; authors and trends; genres; and, film as philosophy.

Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including "Memento".

Each chapter includes a section of annotated further reading and is cross-referenced to related entries. "The Routledge Companion to Philosophy and Film" is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies.

publication data:
704 pages
Publisher: Routledge
1st edition December 3, 2008
ISBN: 0415771668

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Kierkegaard a lofty and mistaken shut-upness

Written by son of rambow on Wednesday, July 07, 2010

Those who know say that Kierkegaard (circa 1840) was a psychoanalyst without fear of being laughed at because he knew that the scoffers are uninformed. Few sapiens have such courage born of self-confidence. The noted psychologist Mowrer said “Freud had to live and write before the earlier work of Kierkegaard could be correctly understood and appreciated.” Such, is genius.

Wo/man is a union of polar opposites; self-consciousness and physical body. It is thus “the true essence of man”. “Leading modern psychologists have themselves made it the corner stone of their understanding.”

The evolution into self-consciousness from self-satisfying ignorance inherent in animal nature had one great tragedy for wo/mankind, which is anxiety or dread. It is our very humanness which produces anxiety--dread of death. This anxiety results from the ambiguity of our situation and our inability to overcome such an ambiguity. This ubiquity of ambiguity drives us into the creation of a virtual world in which to live. Self-consciousness cannot be denied, we cannot disappear into a state of vegetation, we cannot flee dread; we can only create delusions--a virtual reality.

The task of the sciences of psychology, psychoanalysis, sociology, and anthropology are to discover the strategies that humans use to avoid anxiety. How do we function automatically and uncritically in our virtual world and how do these strategies deprive us of true growth and freedom of action?

Today we talk about ‘repression’ and ‘denial’; Kierkegaard, the pioneer, called these same things “shut-upness”. He recognized the ‘half-obscurity’ in which wo/man lives her life, he recognized that man recognizes the truth of ceremony, how many times to bow when walking past the altar, he knows things in the same way that a pupil uses ABC of a mathematical expression but not when it is changed to DEF. “He is therefore in dread whenever he hears something not arranged in the same order.”

Shut-upness is what we today call repression. Kierkegaard recognized a “lofty shut-upness” and a “mistaken shut-upness”. It is important that a child be reared in a lofty shut-upness, i.e. reserve, because it represents an ego-controlled and self-confident perception of the world.

Mistaken shut-upness, however, results “in too much blockage, too much anxiety, too much effort to face up to experience by an organism that has been overburdened and weakened in its own controls…more automatic repression by an essentially closed personality”. Good is openness to new possibilities and evil is closed to such possibility.

Shut-upness is called, by Kierkegaard, “the lie of character”. “It is easy to see that shut-upness eo ipso signifies a lie, or, if you prefer, untruth. But untruth is precisely unfreedom…the elasticity of freedom is consumed in the service of close reserve…Close reserve was the effect of the negating retrenchment of the ego in the individuality.”

This ‘lie of character’ is developed by the infant’s need to adjust to the world. This unfreedom becomes mistaken shut-upness when the character becomes too fearful of the world to open itself up to its possibilities. Such individuals become ‘inauthentic’; they are not their own person; they follow a life style that becomes automatic and uncritical, they become locked in tradition. This infant grows up becoming the ‘automatic cultural-man’.

“Devoid of imagination, as the Philistine always is, he lives in a certain trivial province of experience as to how things go, what is possible, what usually occurs…Philistinism tranquilizes itself in the trivial”.

Quotes from The Denial of Death; Pulitzer Prize winner for nonfiction by Ernest Becker.

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Reading Nietzsche Philosophy

Written by son of rambow on Friday, July 02, 2010

Many of Nietzsche's philosophy outlined in the form of aphorisms. It is not difficult to read the aphorisms in the form of short sentences. But It would be not easy to understand the symbols contained therein. Precisely herein lies the difficulty to understand the Nietzsche's philosophy. In this case, Nietzsche is the philosopher's most elusive throughout the history of modern philosophy. So no surprise that many of his philosophical teachings misunderstanding.

Nietzsche's philosophical style of the aphorism is not considered common and not systematically. Such presumption is ahistorical because it means thinking with the system-as was done by the philosopher before Nietzsche-that is what Nietzsche demolished. Style of philosophizing with a conscious aphorisms used by Nietzsche is not simply because of dissatisfaction with the traditional form, more firmly again to annihilate the system.

Nietzsche's rejection of the philosophers of the system because the system did not question the assumption that they used. A system of thought must be based on these premises, but within the framework of the system, these premises can not be questioned again. Philosophical assumptions of the philosopher simply assumed, as by right to him. The will to system is none other than the way the philosophers to want the truth (Will to Truth) as taken for granted.

For Nietzsche the truth impossible packaged in a system. His antisistem does not mean that Nietzsche does not use the presmis. He used it, but not to lead readers to a conclusion or settlement of the problem, but to explore the hidden assumptions of an idea, including his own. Here, Nietzsche is not just philosophizing with a hammer who want to destroy what is supposed taken for granted, but also a "teacher's suspicions".

Nietzsche rejected the universal truth. For him truth is perspectival. Assessing the truth depend on the standpoint of the meaning. Nietzsche's perspective is known as perspektivisme. With this perspective, there is no any physical reality that are beyond interpretation. There is only a variety of viewpoints.

Perspectivism in line with Nietzsche's attitude antisistem. How to think with the system ignores the question of the underlying assumptions. Though there is no one system that can reveal the whole truth, at best a system represents only one viewpoint. For that reason, we need to consider various viewpoints and do not limit themselves to one system only.

Nietzschean-perspectivism outlook beyond the two extremes of subjectivism and obyektivisme, which eliminates the relation of thought and subject is thinking about it. In his perspectivism, Nietzsche uses fisio-genealogical analysis that the problem is not the object or subject, but lies in how the human relationship with everything. Then the inevitable contradictions in Nietzsche's worldview. Contradictions that just accidentally shown with their respective consequences. Remember, his attitude toward God, as well the reality, is yes-and-not all at once. Therefore, the best way to understand Nietzsche, according to Karl Jasper, is to find his contradiction.

Besides the already mentioned, the use of Nietzsche's aphorism used to describe the complexity of the concepts and ideas. With aphorisms Nietzsche want to solve the congestion language to convey the pluralistic and chatic realities. Language is not as though by the people that they able to represent all of reality, in fact, language is a stumbling attempt to say something unspeakable. At the word "God", "the Will", "Morality" and other words mentioned in the teachings of his philosophy, Nietzsche wanted to exceed what he would say.

In the end, through aphorism Nietzsche would invite his readers to dive into the depths behind the appearance of the word. Therefore, the best way to understand the terms that were introduced in Nietzsche philosophy such as "Will to Power", "the Eternal Recurrence", "the Overman", by treating them as a literary strategy that used by Nietzsche to invite the reader understand something to be conveyed.

In a number of his works we would find many sarcastic words. Nietzsche often speaks of "war", "conflict", "power". Even when he talks about himself in the perfection of Overman inevitable he also mentioned the higher and lower races. Was Nietzsche vent his hatred for certain human groups, Christians, for example? How ridiculous Nietzsche was, he sharply critical ressentiment attitude on human-slave while he himself still trapped in the low morale. Read every Nietzsche phrase literally inevitably will bear the nosy and the response is likely to mislead. Let alone on others, he is sarcastic even to he himself.

Really Nietzsche sarcastic with himself? Would not in the "Ecce Homo" Nietzsche praise for himself? Like "Why I Am So Wise", "Why I Am So Clever", "Why I Wrote So Good Books". Does not this phrase, is the attitude of excessive self-praise, an attitude heavyweight megalomania? We also need to ask again, that in an excessive nature is a variant of the parody. Compliments are very outrageous shown by Nietzsche is treated to reinforce the effects of laughter accompanied seriousness.

"Who Among You Can laugh and be elevated at the Same Time?" asked Zarathustra. Death of God which should not be treated with joy by philosophers because they do not know how to laugh at himself. As a result of philosophy of science fails to be a fun "The Gay Science". What Nietzsche want is seriousness without ignoring a cheerful play.

We need to play because in play one can find something new. This is perhaps ignored from the attention that he wanted to celebrate the creativity to find new value. And as a consequence, if we are to follow Nietzsche way of thinking, eventually Nietzsche to be rejected: "Now let me and you find yourself, if you all have denied me I will come to you".

by Udin Attar

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Nietzsche, Dionysus and Apollo

Written by eastern writer on Tuesday, March 02, 2010

The Theater of Dionysus is said to be the place where Greek tragedy began.Nietzsche does not fit any ordinary conception of the philosopher. He is not only remote from the world of the professorial or donnish philosopher, from tomes and articles, footnotes and jargon -- in brief, from the more modern image of the philosopher. He is equally far from the popular notion of the wise man: serene, past passion, temperate, and Apollonian. But this is clearly -- for those of you willing to explore -- part of Nietzsche's point: that is, to offer a new image, a philosopher who is not an Alexandrian academician, nor an Apollonian, but Dionysian.

Apollonian and Dionysian are terms used by Nietzsche in The Birth of Tragedy to designate the two central principles in Greek culture. The Apollonian, which corresponds to Schopenhauer's principium individuationis ("principle of individuation"), is the basis of all analytic distinctions. Everything that is part of the unique individuality of man or thing is Apollonian in character; all types of form or structure are Apollonian, since form serves to define or individualize that which is formed; thus, sculpture is the most Apollonian of the arts, since it relies entirely on form for its effect. Rational thought is also Apollonian since it is structured and makes distinctions.

The Dionysian, which corresponds roughly to Schopenhauer's conception of Will, is directly opposed to the Apollonian. Drunkenness and madness are Dionysian because they break down a man's individual character; all forms of enthusiasm and ecstasy are Dionysian, for in such states man gives up his individuality and submerges himself in a greater whole: music is the most Dionysian of the arts, since it appeals directly to man's instinctive, chaotic emotions and not to his formally reasoning mind.

Nietzsche believed that both forces were present in Greek tragedy, and that the true tragedy could only be produced by the tension between them. He used the names Apollonian and Dionysian for the two forces because Apollo, as the sun-god, represents light, clarity, and form, whereas Dionysus, as the wine-god, represents drunkenness and ecstasy.

Finally, a word or two from Walter Kaufmann:



Nietzsche's ideas about ethics are far less well known than some of his striking coinages: immoralist, overman, master morality, slave morality, beyond good and evil, will to power, revaluation of all values, and philosophizing with a hammer. These are indeed among his key conceptions, but they can be understood correctly only in context. This is true of philosophic terms generally: Plato's ideas or forms, Spinoza's God, Berkeley's ideas, Kant's intuition all do not mean what they would mean in a non-philosophic context; but scarcely anybody supposes that they do. In Nietzsche's case, however, this mistake is a commonplace -- surely because few other philosophers, if any, have equaled the brilliance and suggestiveness of his formulations. His phrases, once heard, are never forgotten; they stand up by themselves, without requiring the support of any context; and so they have come to live independently of their sire's intentions.

image caption: The Theater of Dionysus is said to be the place where Greek tragedy began.

[Source: Walter Kaufmann, From Shakespeare to Existentialism: An Original Study (Princeton: Princeton University Press, 1959), pp. 207-8.]

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Nietzsche's idea of "the overman" (Ubermensch)

Written by eastern writer on Thursday, November 26, 2009

Nietzsche's idea of "the overman" (Ubermensch) is one of the most significant concept in his thinking. Even though it is mentioned very briefly only in the prologue of Thus Spoke Zarathustra, it might be sensible to conceive that Nietzsche had something in his mind about how a man should be more than just human-all-too-human, regardless if he was one or not. All these ideas had been pondered on and developed though all his works. The concept then seems to reveal much about the way Nietzsche saw life. This essay will attempt on seeing through, as much as possible, the idea of overman by Nietzsche and life from the point of view of an overman.

An overman as described by Zarathustra, the main character in Thus Spoke Zarathustra, is the one who is willing to risk all for the sake of enhancement of humanity. In contrary to the last man whose sole desire is his own comfort and is incapable of creating anything beyond oneself in any form. This should suggest that an overman is someone who can establish his own values as the world in which others live their lives, often unaware that they are not pregiven. This means an overman can affect and influence the lives of others. In other words, an overman has his own values, independent of others, which affects and dominates others? lives that may not have predetermined values but only herd instinct. An overman is then someone who has a life which is not merely to live each day with no meanings when nothing in the past and future is more important than the present, or more precisely, the pleasure and happiness in the present, but with the purpose for humanity.

In Nietzsche?s view, an overman should be able to affect history indefinitely. He will keep reentering the world through other people?s minds and affect their thoughts and values. Napolean who is highly admired by Nietzsche may be seen as an example here since he changed and created orders in Europe. What he did effects greatly in how Europe is today. This idea agrees with another of his most significant idea, the idea of the will-to-power. He asserts that life is the will-to-power. Although it is hard to say exactly what he meant by that term, it can be described as something, which underlies how human thinks, behaves and acts in all circumstances. He views that a human being is always in a constant struggle to quench his own desire. This is shown in the context of power used to exclude desires of others that is in conflict to his, power that is used to achieve what they desire. A living thing always seeks to discharge its strength, not only to survive but to power and this sometimes results in violent behaviour which is, allegedly by Nietzshce, intrinsic to the nature of men. However, the way to will can be different, constructive or destructive. My interpretation would then be that an overman uses the will-to-power to influence and dominate the thoughts of others creatively from generation to generation. In this way, his existence and power live on even after he dies.?

Nietzsche also has the answer to life that seems suffering. His answer, which is expressed in the same book of Zarathustra, is an attitude towards life that helps one overcome the feeling of its meaninglessness. It starts with the idea that life is an eternal recurrence with no beginning and no end but a repetition of the very same life over and over again. With all sufferings, unhappiness and misdeeds in life, one may feel cursed and despaired if he inevitably were to repeat the same life with the same pain and joy. However, the most important point may not be whether life is really an eternal recurrence. Rather, although not explicitly stated, the important point is that an overman should view it differently such that in the very same life, there has been a moment that it redeems everything else. It then makes him content with and happy to repeat that very same life again and again. He has got the feeling of unity of creation and destruction, good and bad taste of life and is able to say that life is good even it may seem terrible and questionable. He views all the past actions, silly or wise, accidental or achieving, as necessity of becoming himself. Therefore he can redeem himself and thus be willing to repeat the same life again. Some may even say that ?it was? and ?thus I willed it? even though he knows well that one cannot will backward and there are many other limitations in life. It implies that living a life of an overman is to live with the knowledge of what has already happened and constant reinterpretation according to it.? Clearly, an overman is then someone who can, with appreciation, face life that may seem so suffering and absurd, knowing that the basic conditions of life will not change even when he is in the ideal state of an overman.

In a sense, overman is about self-overcoming. It involves an attitude towards life when one may feel despaired and feel life is meaningless. It is about the way to deal with ?truth? not in direct manner with straightforward rules as in rationalism, but more like a sensitive mix of trickier indirect approaches. As he compared this with winning a woman?s heart, those who approach clumsily and directly will bound to failure and hence left dispirited. When compared to Kantian view of truth, it can be seen that going straight into finding an absolute naked truth may leave one unsastisfied with questions that remain unanswered. Instead, Nietzsche suggested the way to tackle this by going along with it and take it as it is. One will then feel content and happy with the life that may be so questionable.

Another characteristic used to describe an overman originated in his earlier work, The Birth of Tragedy. In this book, the notion of Apollonion and Dionysian principles is used with respect to his analysis of the Greek tragedy. They are used to describe two principles men use in thinking which consequently determine actions. Apollonion principle is the principle of light, rationality, order and clear boundaries whereas Dionysian is the principle of the dark, irratioanality, the collapse of order and boundaries. The Apollonion views an individual as separate from other reality and hence can be viewed dispassionately with rationality. On the other hand, the Dionysian views things as a living whole where one is a part of a larger reality. The Apollonion therefore involves no passion or emotion but pure reasons with order whereas the Dionysian is passionate, dynamic and unpredictable. Nietzsche believes that a balance of the two principles is essential in order to have some meanings in life. He seems to be very fond of art and viewed that artistic works, paintings, plays, literature or music exhibit a great deal of Dionysian principle in the form of creativity. In his later work, the importance of the Dionysian principle in living a life with values and meanings is expressed clearly. He views that the highest state attainable by a man can be achieved when life is conceived in terms of the realisation of the Dionysian ideal of the overman. That means one must realise and accept his own Dionysian nature and use it appropriately.

From my point of view, Nietzsche must have treated art as something higher than ordinary, mass-conventional logic and rationality such as that in science for he admired creativity and beauty in art above all things. A person who will be viewed by Nietzsche as an overman is then more likely to be an artist who uses his Dionysian principle and way of thinking and feeling to create works that carry particular individual?s picture or interpretation of the world. His values may or may not be the same as any other but a good artist should be able to combine creativity with his perception of the world and life and express it well in his work. On comparison to Aristotle who views that the most desirable state of a person is a philosopher who contemplates, Nietzsche viewed traditional philosophers during his time as people who did not really affect the real world outside and usually their traditional philosophical works were merely self confession. It can then be seen that his value is highly placed upon the concept of Dionysus and therefore he praised the Greek civilisation where a lot of creativity took place even more than in present society. Nietzsche accepted that Socrates did affect the history greatly, which is the characteristic that Nietzsche valued. However, he blamed Socrates for the western society and culture that emphasised the Apollonion principle too much. Socrates was thought to have gone too far in defending rationality. He even viewed that we could use reasoning in everything so that the nature?s flaws can be corrected. It is then what the western dreams of and pursues up until now through science and technology. This is the view that does not accept human limitation, that men are powerless and have no control but always places men on the top of everything. In contrast, Nietzsche views that an overman must be able to accept these limitations and can face it in the eternal recurrence. Nietzsche must have felt that the western culture had put less and less significance on artistic creativity and passion that mental and spiritual power which create beauty in life have fewer and fewer places in the modern society.

Emotion is one of the attributes of Dionysus and is also one of the entities which Nietzsche defended. He views that emotion is natural. Its repression or suppression is psychologically disastrous. This also includes sexuality. He attacked Christianity for its traditional value that places bars on emotion and impulse and this is viewed by Nietzsche as self-denying. He disagrees on inhibiting and thwarting human own nature. Rather, an overman must accept his own nature and divert the energy of primitive impulses into a culturally, higher or socially more acceptable, activity. This is exactly what should happen to a good artist on creating his work of art. To him, the Dionysian is not completely dark and evil as opposite to the Apollonion which is associated with light and reason. The Dionysian is rather viewed as natural, both good and bad just like any ordinary human being. It is in every human nature. With a right balance with the Apollonion and with the right use, a burst of creativity is the result. However, it is usually the case that when the Apollonion principle mixes the Dionysian, it tends to suppress the Dionysian. As a result, the Dionysian principle is expressed in a destructive way. Basically, an overman must be able to control this and divert the Dionysian power into something creative. To Nietzsche, Dionysian is profoundly irrational rather than negatively or stubbornly irrational.

?In the present age where science and rationality are highly valued, I realise that it is hard to accept the negative side of being rational since it seems to be the most reliable tool in treating others, living together and judging. Without it, society can be chaotic and too much disordered for no control is imposed on the irrational ones who do not use the Dionysian principle in a productive way. However, I agree with Nietzsche in the beauty of the product created out of Dionysian principle and feel that the right mix of Apollonion and Dionysian will make the world much nobler, not in the luxurious sense but aesthetic one. The world with no passion and emotion will be an unnatural one and this special property, among others, of human that differs from other animals will be lost.??????

Nietzsche might or might not consider himself an overman but he surely determined to be a means or bridge who brings closer to reality an emergence of an overman. In his view, men are not born equal. He always stresses on the difference of men and hence in contrast to Marx who includes everyone into his ideal society. For Nietzsche, there are only some capable and talented who qualifies to be an overman from his point of view. Therefore, he is usually perceived superficially as an elitist which might have brought down the value of his thinking. To me, it is a fact that is hard to swallow for all of us and quite sceptical on the ability of men. However, it is the case, at least throughout the history of mankind up to the present, for men are educated differently and experience different things. Nevertheless, Nietzsche?s thinking provides some space for this. He says that his ideal is not necessarily everyone?s universal ideal. Each of us values things differently and therefore his overman may not be the same as others? overman. He consequently urges for revaluation of traditional values such as, the supression of emotion, the wholeheartedly devoted rationalism. An overman, in his view, should not be restricted by tradition nor bounded by convention but has independent values of his own.???????

From all that is shown above, we may say that Nietzsche?s overman must be able to affect history indefinitely, conceives life in terms of Dionysian realisation and is able to divert Dionysian principle into something creative. With this kind of attitude and the realisation of his own limitation in life, he would then be able to face life, look back with satisfaction, realising that all pasts make him what he is today, and hence feel happy if he were to repeat that very same life eternally. An overman should then be content with his own life and appreciate every bit of it even though some of them are painful and suffering. He spends each day of his life creating beauty, which affects the minds of others through out the time, knowing that his life has values and meanings since his existence of will-to-power will live on indefinitely.?




References

1) The Cambridge Companion to Nietzsche, ed. B.Magnus and K.M.Higgins, Cambridge University Press, 1990.

2) Nietzsche, Life As Literature, Alexander Nehamas, Havard University Press,1994.

3) Nietzsche for Beginners, M.Sautet, Writers and readers, 1990.

4) Nietzsche:A Critical Reader.

5) Philosophy II lecture handouts.

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Ubermensch: The Will to Power

Written by eastern writer on Thursday, November 26, 2009

The Will to Power (German: "der Wille zur Macht") is a prominent concept in the philosophy of Friedrich Nietzsche. The will to power describes what Nietzsche believed to be the main driving force in man; achievement, ambition, the striving to reach the highest possible position in life, these are all manifestations of the will to power.

Friedrich Nietzsche found early influence from Schopenhauer, whom he first discovered in 1865. Schopenhauer puts a central emphasis on will and in particular has a concept of the "will to live". Writing a generation before Nietzsche, Schopenhauer explained that the universe and everything in it is driven by a primordial will to live, which results in all living creatures' desire to avoid death and procreate. For Schopenhauer, this will is the most fundamental aspect of reality—more fundamental even than being.

Another important influence is Roger Joseph Boscovich, whom Nietzsche discovered and learned about through his reading of Friedrich Albert Lange's 1865 Geschichte des Materialismus (History of Materialism), which Nietzsche read in 1866. As early as 1872, Nietzsche went on to study Boscovich’s book Theoria Philosophia Naturalis for himself. Nietzsche makes his only reference in his published works to Boscovich in Beyond Good and Evil where he declares war on "soul-atomism" Boscovich had rejected the idea of "materialistic atomism" which Nietzsche calls "one of the best refuted theories there are." The idea of centers of force would become central to Nietzsche's later theories of will to power.

Nietzsche began to speak of the "Desire for Power" (Machtgelüst), which appeared in The Wanderer and his Shadow (1880) and Daybreak (1881). Machtgelüst, in these works, is the pleasure of the feeling of power and the hunger to overpower.

Wilhelm Roux published his The Struggle of Parts in the Organism (Der Kampf der Theile im Organismus) in 1881, which Nietzsche first read the same year. The book was a response to Darwinian theory, proposing an alternative mode of evolution. Roux was a disciple of and influenced by Ernst Haeckel who believed the struggle for existence occurred at the cellular level. The various cells and tissue struggle for finite resources, so that only the strongest survive. Through this mechanism, the body grows stronger and better adapted. Lacking modern genetic theory and assuming a Lamarckian or pangenetic model of inheritance, the theory had plausibility at the time.

Nietzsche began to expand on the concept of Machtgelüst in The Gay Science (1882), where in a section titled “On the doctrine of the feeling of power,” He connects the desire for cruelty with the pleasure in the feeling of power. Elsewhere in The Gay Science he notes that it is only “in intellectual beings that pleasure, displeasure, and will are to be found,” excluding the vast majority of organisms from the desire for power.

Léon Dumont (1837-77), whose 1875 book Théorie Scientifique de La Sensibilité, le Plaisir et la Peine Nietzsche read in 1883, seems to have exerted some influence on this concept. Dumont believed that pleasure is related to increases in force. In Wanderer and Daybreak, Nietzsche earlier had speculated that pleasures such as cruelty, are pleasurable because of exercise of power. But Dumont, in 1883, provided a physiological basis for Nietzsche’s speculation. Dumont’s theory also would have seemed to confirm Nietzsche’s theory that pleasure and pain are reserved for intellectual beings, since, according to Dumont, pain and pleasure require a coming to consciousness and not just a sensing.

In 1883 Nietzsche coined the phrase “Wille zur Macht” in Thus Spoke Zarathustra. The concept, at this point, is no longer limited to only those intellectual beings that can actually experience the feeling of power; it applies to all life. The phrase Wille zur Macht first appears in part 1, "1001 Goals" (1883), then in part 2, in two sections, “Self-Overcoming” and “Redemption” (later in 1883). “Self-Overcoming” describes it in most detail, saying it is an “unexhausted procreative will of life.” There is will to power where there is life and even the strongest living things will risk their lives for more power. This suggests that the will to power is stronger than the will to survive.

Schopenhauer's "Will to life" thus became a subsidiary to the will to power, which is the stronger will. Nietzsche thinks his notion of the will to power is far more useful than Schopenhauer's will to live for explaining various events, especially human behavior—for example, Nietzsche uses the will to power to explain both ascetic, life-denying impulses and strong, life-affirming impulses in the European tradition, as well as both master and slave morality. He also finds the will to power to offer much richer explanations than utilitarianism's notion that all people really want to be happy, or the Platonist's notion that people want to be unified with the Good.

Nietzsche read William Rolph’s Biologische Probleme probably in mid 1884 and it clearly interested Nietzsche; his copy is heavily annotated and he made many notes concerning Rolph. Rolph was another evolutionary anti-Darwinist like Roux, who wished to argue for evolution by different mechanism than the struggle for existence. Rolph argued that all life seeks primarily to expand itself. Organisms fulfill this need through assimilation, trying to make as much of what is found around them into part of themselves, for example by seeking to increase intake and nutriment. Life forms are naturally insatiable in this way.

Nietzsche's next published work is Beyond Good and Evil (1886), where the influence of Rolph seems apparent. Nietzsche writes, "Even the body within which individuals treat each other as equals ... will have to be an incarnate will to power, it will strive to grow, spread, seize, become predominant—not from any morality or immorality but because it is living and because life simply is will to power." The influence of Rolph and its connection to “will to power,” also continues in book 5 of Gay Science (1887) where Nietzsche describes will to power as the instinct for “expansion of power,” fundamental to all life.


Beyond Good and Evil has the most references to “will to power” in his published works, appearing in eleven aphorisms and this was the time of greatest development of the idea.

Karl Wilhelm von Nägeli's 1884 book Mechanisch-physiologische Theorie der Abstammungslehre, which Nietzsche acquired probably in 1886 and subsequently read closely, had considerable influence on his theory of will to power. Nietzsche wrote a letter to Franz Overbeck about it, noting that it has “been sheepishly put aside by Darwinists”. Nägeli believed in a “perfection principle,” which led to greater complexity. He called the seat of heritability the idioplasma, and argued, with a military metaphor, that a more complex, complicatedly ordered idioplasma would usually defeat a simpler rival. In other words, he is also arguing for internal evolution, similar to Roux, except emphasizing complexity as the main factor instead of strength.

Thus, Dumont’s pleasure in the expansion of power, Roux’s internal struggle, Nägeli’s drive towards complexity, and Rolph’s principle of insatiability and assimilation are fused together into the biological side of Nietzsche’s theory of will to power, which is developed in a number of places in his published writings. Having derived the “will to power” from three anti-Darwin evolutionists, as well as Dumont, it seems appropriate that he should use his “will to power” as an anti-Darwinian explanation of evolution. He expresses a number of times the idea that adaptation and the struggle to survive is a secondary drive in the evolution of animals, behind the desire to expand one’s power—the will to power.

Nonetheless, in his notebooks he continues to expand the theory of the will to power. Influenced by his earlier readings of Boscovich, he began to develop a physics of the Will to Power. The idea of matter as centers of force is translated into matter as centers of will to power. Nietzsche wanted to slough off the theory of matter, which he viewed as a relic of the metaphysics of substance.

These ideas of an all inclusive physics or metaphysics built upon the will to power does not appear to arise anywhere in his published works or in any of the final books published posthumously, except in the above mentioned aphorism from Beyond Good & Evil, where he references Boscovich (section 12). It does recur in his notebooks, but not all scholars want to consider these ideas as part of his thought.

Throughout the 1880s, in his notebooks, Nietzsche also developed an equally elusive theory of the “eternal recurrence of the same” and much speculation on the physical possibility of this idea and the mechanics of its actualization recur in his later notebooks, which becomes tied with his theory of will to power as a potential physics integrated with the “eternal recurrence of the same.” Nietzsche appeared to imagine a physical universe of perpetual struggle and force, which successively completes its cycle and returns to the beginning again and again.

* Source: [http://http://en.wikipedia.org/wiki/Will_to_power]

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Nietzsche, Heidegger, and the Affirmation of Being

Written by son of rambow on Thursday, November 19, 2009

Why is there something and not rather nothing? Or, as Heidegger posed the question more precisely in his lecture Existence and Being, “Why is there any being at all and not rather Nothing?” (221). In fact, Heidegger grants this question as the “basic question of metaphysics”. This question is not one that is merely conceptually asked and that can be merely conceptually answered. It is a question that is not merely posed through language, but it finds its roots in our personal and existential experience of this Nothingness. In other words, this question can only be asked because it is first existentially experienced.

It is this abyss that we are able to come existentially face to face with. The Nothingness that constantly stands before us in our being is what allows us to face the uncanny experience of existence. This “Nothingness” is a constant theme and impetus for Nietzsche’s emphatic affirmation of life throughout his work. It is also this “non-being” that is central to Heidegger’s undertaking of a “fundamental ontology” in Being and Time.

The primary focus of this essay will be the shattering topic of “Nothingness”, and will approach the astounding points of convergence on this subject from the work of Heidegger and Nietzsche; especially focusing on Nietzsche’s notion of “The Eternal Recurrence of the Same” and the affirmation of existence found therein. To use the term of the neo-orthodox theologian Rudolph Bultmann, there will be an attempt to “de-mythologize” Nietzsche’s Eternal Recurrence in order to better link it with the work of Heidegger as found primarily in Being and Time.


Part I: De-mythologizing Nietzsche’s “Eternal Recurrence”

The doctrine of Nietzsche’s Eternal Recurrence is exactly what the title would suggest. Nietzsche claims, “Everything becomes and recurs eternally—escape is impossible!” (545). That is, this exact life, as it is experienced now, will eternally recur with exactly the same events as are experienced. No event of this life will be altered in the ‘next life’ but will happen precisely as they have happened in this life. In a modern and scientific age, it is difficult to take this doctrine into literal account with a high degree of serious consideration. In a world in which the influence of scientific investigation is so heavily relied upon, we simply do not accept this doctrine that our lives somehow “eternally recur”. But, is this the primary intention of the doctrine—to convince us that our lives carry on through eternal repetition? Of course the answer is no. The thoughtful reader may find in this doctrine a meaning that is ever so applicable to the modern scientific man, and perhaps all the more applicable because of this rigid scientific culture.

Nietzsche exclaims the emphatic reinforcement of his doctrine of “eternal recurrence” in this bold passage:

A certain emperor always bore in mind the transitoriness of all things so as not to take them too seriously and to live at peace among them. To me, on the contrary, everything seems far too valuable to be so fleeting: I seek an eternity for everything: ought one to pour the most precious salves and wines into the sea?—My consolation is that everything that has been is eternal: the sea will cast it up again (548).



This passage, at first glance, would seem to carry with it mythological connotations. Nietzsche speaks of ‘seeking an eternity for everything’. He claims that he is ‘consoled’ by this notion of eternality. But, if this is what is focused on as the fundamental meaning of the passage, we have failed to see Nietzsche’s message of the affirmation of a meaningful existence.

Here we see Nietzsche’s address to the notion that the world is ephemeral. It seems as though it isn’t the affirmation of “things” that Nietzsche is looking for, but rather the affirmation of being; this life is the life that Nietzsche longs to celebrate and affirm. In so doing, everything in the world around us becomes precious, carrying its own light, and the temporality of the world is waylaid by our primordial experience of being.

The analogy that Nietzsche sets forth about the “salves and wines” being cast into the sea can be seen as an analogy of the preciousness of this life and its redemptive value. Nietzsche asks the question of whether or not to pour our “most precious salves and wines into the sea”. It is apparent that the answer is no but the next sentence is an extremely important one in uncovering the message that Nietzsche is conveying. He claims that everything is indeed eternal and that “the sea will cast it up again”. In other words, it is this life that offers us redemption for that which we have cast away ‘into the sea’. It is this life in which we are to appreciate all that is part of us, and this life that we are to treasure.

Later in Eternal Recurrence, Nietzsche seems to defend his doctrine further by saying:

This conception is not simply a mechanistic conception; for if it were that, it would not condition an infinite recurrence of identical cases, but a final state. Because the world has not reached this, mechanistic theory must be considered an imperfect and merely provisional hypothesis (549).



The notion of the “final state” is what Nietzsche is attempting to avoid and through this avoidance, he is affirming the possibilities that we all have the potential of realizing. The term “final state” seems to carry with it a nihilistic notion because it is a state of being where the world may go no further; there is no room for progression. Nietzsche adamantly and avidly despises this nihilism.

Focusing on whether or not Nietzsche’s notion of an “infinite recurrence of identical cases” ought to be taken literally is a matter of indifference in uncovering the underlying message in the doctrine. If life did indeed ‘literally’ repeat itself an infinite amount of times, would this not mean that we ought to attempt to live this life choosing the best of our possibilities? If we lived an infinitely repeatable life, and were cognizant of this infinite repeating, we surely would want to choose the best for ourselves so that we may live the ‘next life’ in the best manner possible.

The last section of the Eternal Recurrence writings suggests the most pronounced declaration of existence from Nietzsche. Nietzsche states:

This, my Dionysian world of the eternally self-creating, the eternally self-destroying…my “beyond good and evil”, without goal, unless the joy of the circle is itself a goal…do you want a name for this world? A solution for all its riddles? A light for you, too, you best-concealed, strongest, most intrepid, most midnightly men?—This world is the will to power—and nothing besides! And you yourselves are also this will to power—and nothing besides! (550).



This proclamation is a call to the progression of human existence, or what Nietzsche would call the ubermensch or overman. It is an assertion of life in the face of a nihilistic existence or in the face of Nothingness. Man, as we know him today, must be overcome. The somnambulistic state of man must be overcome through an emphatic affirmation of our existence in the face of Nothingness.

Here Nietzsche is going “beyond good and evil” without a “goal” or an end, unless, as he suggests, the “joy of the circle is itself a goal”. Again, it matters little whether or not this is a ‘literal circle’ because the true meaning would be veiled over by talk of its ‘literal’ significance or lack thereof. The “joy” is to be found here and now, in this life and in no other. The significance and meaning is to be established existentially here and now and not in the lofty—and often nihilistic—notion of a qualitatively better afterlife.

The question of ‘naming’ this world is a vital part of this passage. Nietzsche’s question implies the existentiality, and consequently the personal experience of this life, which cannot be summed up in a name. By saying that this world “is the will to power” Nietzsche has not applied a title to the world, but has made a statement of being and becoming. The conjugation of the verb “to be” in the form “is” shows us this assertion of being. The “will to power” is not a decisive act but is an existential event that must constantly be re-chosen and that is constantly in a movement of willing. It is a “willing” rather than some moment that has been willed. Our power must constantly be in a motion of willing.

Are we then to believe in a literally recurring life in order that we may fully participate in our being? Are we to believe that the only true appreciation of life comes from an understanding that it will eternally repeat itself just as it happens now? Certainly, we cannot be expected to believe this doctrine to be a literal account of the cycle of our lives. But rather, what we ought to gain from this ‘doctrine’ is the vital message of the affirmation of our existence. We existentially and individually experience the personal phenomena of death, or non-being, and this is ultimately what brings us a meaningful existence. That we exist at all must be seen as precious and worthy of our care.

Moreover, this allegory is not an attempt to offer some alternative to the notion of “heaven” that spawns from the Christian tradition. If understood literally, it certainly offers no promise of a ‘better life’ after this one. In fact, it would mean that every single detail of this life would be repeated over and over again which is certainly not an enticing or comforting thought for many. There is nothing qualitatively better about this than the traditional after life of heaven. Nietzsche rejected this notion of heaven as nihilistic because the focus on this life is undermined by a lofty vision of a better one. Why should we not better this life? By suggesting an eternally recurring life, Nietzsche has shown us that this life needs to be the focus of our energies, and it ought to be considered precious because our existence in this life is the only existence of ourselves that we can truly affirm.

Although this previous section is a rather rudimentary acknowledgement of Nietzsche’s prolific work, for the purposes of this essay it is safe to move forward to Heidegger’s notion of Being-towards-death and the significance it brings to life. To do so, we will focus primarily on Heidegger’s work as seen in Being in Time, and we may later compare this to Nietzsche’s “eternal recurrence of the same events”.

Part II: The Possibility of the Affirmation of Being in the Face of our Ownmost Death

Because Heidegger is dealing with what he deems a “fundamental ontology” in his work Being and Time, he has chosen to stray from the terms ‘human being’, ‘humanity’, etc. This is done in order that he may set forth a structurally sound ontological assessment of Being while not trapping the phenomena of Being under an inadequate title. “Dasein” is the term designated for ‘that being for which being is a concern’. Or more precisely, “Dasein” signifies, as literally translated from the German text, either “Being-here” or “Being-there”. Because of Dasein’s radical temporality, its Being-here is always its Being-there. In other words, we are constantly projected into the future and are called to choose from our ownmost possibilities of our future. Dasein is ‘here’ in its own ‘present time’, but Dasein is also ‘there’ because it is a “Being-towards-death”. We are existing—literally “standing out”—in a mode of being where we are able to come face to face with our ownmost death.

Each Dasein must face his own death. This death is a truly individuating factor of each Dasein. As Heidegger phrases it, “as a potentiality-for-Being, Dasein cannot outstrip the possibility of death. Death is the possibility of the absolute impossibility of Dasein” (294). Death is an event that Heidegger terms as “distinctly impending” for each Dasein. There are many things in the world that may be considered as impending upon our existence, but the distinctness of death is that Dasein cannot flee from it or have some other Dasein “die his death” for him.

It is in the face of our ownmost death that we are able to see our ownmost possibilities. “Being-towards-death”, when experienced as such, is what allows Dasein to realize his ownmost possibilities of his future, and resolutely choose his own authenticity. In the face of our ownmost death, we are then able to realize that we exist and that we can choose to exist authentically, and we are freed from the burdens of everyday modes of being. The anxiety that Dasein may experience through Being-towards-death is a moment when Dasein is brought out of his everyday existence, or brought out of what Heidegger calls the “they-self”. The “they” signifies everyone, yet no one in particular. Dasein is, for the most part, lost in the world of the “they” and is under the dictatorship of the “they”. “They say this and that”; this is precisely why Dasein is not its authentic self until it is called out of the “they” and into the anxiety of Being-towards-death.

Being-towards-death offers Dasein the possibility of being individuated from the dictates of the “they”. Heidegger states:

Anticipation reveals to Dasein its lostness in the they-self, and brings it face to face with the possibility of being itself, primarily unsupported by concernful solicitude, but of being itself, rather, in an impassioned freedom towards death (311).



Here we may see an emphatic affirmation of being in the face of Nothing. Heidegger states that this Being-towards-death is an “impassioned freedom”. It is the void of death which brings to us the potential of realizing the possibility of a full and authentic existence. By coming face to face with death, Dasein is able to see its lostness within the “they”, and is consequently able to freely choose his own authentic existence. This is a radical freedom that, for Heidegger, is not experienced daily and, in fact, may never be experience by some because many choose to flee from this anxious state of Being-towards-death. This is a radical realization of the utter freedom that each Dasein may become through the resolute choice in the face of his ownmost death.

Here too, as with Nietzsche, Heidegger phrases this phenomena using a statement of being. He states that Dasein is faced with the possibility of “being itself”. Because we are radically temporal, we are constantly “Being-towards-death”, and we are able to anxiously come face to face with this Nothingness and experience that we do indeed ex-ist. As the word “exist” etymologically denotes, we are literally “standing-out”. We are standing-out towards our ownmost possibilities for ourselves because we are also Being-towards-death.

Part III: The Synthesis of “Being-Towards-Death” and “Eternal Recurrence”

In Nietzsche’s Eternal Recurrence we have seen a bit of an enigmatic approach in the affirmation of being in the face of Nothingness. Nietzsche does not offer a structural approach, nor does he attempt to categorize this affirmation of existence under a set of names or titles. Rather, Nietzsche chooses to tell the story of the “eternal recurrence”. As previously stated in section two, whether or not Nietzsche intended this ‘doctrine’ to be taken literally as an explanation of the life cycle is irrelevant to the underlying meaning that he ostensibly intended to display. The liveliness of this work is found when we recognize Nietzsche’s call for the assertion of our existence in this life and no other.

Heidegger took a structural approach or what he called a “fundamental ontology” in Being and Time. Later, Heidegger criticized this title of a “fundamental ontology” in Existence and Being by saying, “this title, like any title, is soon seen to be inappropriate” (219). This self-criticism is a result of Heidegger’s realization that our radical temporal being cannot be placed under any title because it is not a thing, concept, or even a being. Despite this critique, Being and Time offers us a structural analysis of our Being in the face of nothingness. Heidegger chose to call this a “Being-towards-death”, which would seem to be the most accurate language applicable to the basic state of the Being of Dasein.

The styles of discourse differ greatly in the contrast of Heidegger and Nietzsche, but the common element to both is the affirmation of being in the face of non-being or Nothingness. This assertion of an “authentic” or meaningful existence has been the basis of a great deal of thought since their inception, including the basis of such neo-orthodox theologians as Paul Tillich, Rudolph Bultmann, and Schubert Ogden. These theologians have based much of their interpretation of Christianity on the basis of Heidegger’s prolific work, and they have broken from the Greek-based tradition.

The affirmation of our existence is the assertion that “man is not a thing”, and that our being is more than what is encountered everyday in the world. We are constantly under the overcast of Nothingness and, in the face of this, we are able to see our own possibilities because we do indeed exist. The experience of Nothingness can be followed through to an authentic existence if we do not brush it off as a merely fearful moment of some sort. Rather, this Nothingness is what allows us to realize our freedom as finite Being-toward-death, and we are then freed from the world in order that we may be freed for the world and to exist in it as fully and authentically as possible.

--------
Jacob Graham is a Senior at Ferrum College with a Major in Philosophy.
source: http://www.ferrum.edu/philosophy/nietaffirm.htm

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History and the Real: Foucault with Lacan

Written by eastern writer on Friday, July 03, 2009

History and the Real: Foucault with Lacan

by Charles Shepherdson

Department of English
University of Missouri at Columbia
Postmodern Culture v.5 n.2 (January, 1995)
pmc@jefferson.village.virginia.edu

The entrance into world by beings is primal history [Urgeschichte] pure and simple. From this primal history a region of problems must be developed which we today are beginning to approach with greater clarity, the region of the mythic.
--Heidegger, The Metaphysical Foundations of Logic ^1^

The Oedipus myth is an attempt to give epic form to the operation of a structure.
--Lacan, Television ^2^


By the madness which interrupts it, a work of art opens a void, a moment of silence, a question without answer, provokes a breach without reconciliation where the world is forced to question itself.
--Foucault, Madness and Civilization ^3^


The historicity proper to philosophy is located and constituted in the transition, the dialogue between hyperbole and finite structure, between that which exceeds the totality and the closed totality, in the difference between history and historicity.
--Derrida, "Cogito and the History of Madness" ^4^

read more http://pmc.iath.virginia.edu/text-only/issue.195/shepherd.195

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Rethinking Gramsci's Political Philosophy

Written by eastern writer on Friday, May 29, 2009

by Maurice A. Finocchiaro, University of Nevada-Las Vegas

ABSTRACT: This paper is a clarification and partial justification of a novel approach to the interpretation of Gramsci. My approach aims to avoid reductionism, intellectualism, and one-sidedness, as well as the traditional practice of conflating his political thought with his active political life. I focus on the political theory of the Prison Notebooks and compare it with that of Gaetano Mosca. I regard Mosca as a classic exponent of democratic elitism, according to which elitism and democracy are not opposed to each other but are rather mutually interdependent. Placing Gramsci in the same tradition, my documentation involves four key points. First, the Notebooks contain an explicit discussion of Mosca's ideas such that when Gramsci objects to a theoretical concept or principle, he often presupposes a common methodological orientation, and when he objects to a particular method or approach, he often presupposes a common theoretical view. Second, Gramsci accepts and gives as much importance to Mosca's fundamental principle that in all societies organized elites rule over the popular masses. Third, Gramsci accepts Mosca's distinctive theory of democracy defined as a relationship betwen elites and masses such that the elites are open to the influx of members from the masses. Finally, there is an emblematic practical political convergence btween the two: in 1925, both opposed a Fascist bill against Freemasonry. Although their rhetoric was different, their speeches exhibit astonishing substantive, conceptual and logical similarties.


The aim of this paper is to suggest that the political theory of Antonio Gramsci is in large measure a constructive criticism or critical development of that of Gaetano Mosca. Before justifying this claim, some qualifications are in order.

The most immediate clarification is that the Mosca I have in mind is not the "proto-fascist" or reactionary alleged by some, but rather a thinker in the tradition of democratic elitism; this is a tradition which rejects the view that democracy and elitism are incompatible, but tries to combine them. (1) Second, I said "in large measure," and this does not mean "entirely"; that is, I think it would be wrong to claim that all of Gramsci's political theory derives only from Mosca since there is no question that there are other sources, such as Marx, Lenin, Hegel, Gentile, Croce, and Machiavelli. (2) Third, when I speak of political theory, I am not referring to the totality of Gramsci's thought, but to that part which deals with questions which are strictly and explicitly political and social, such as classes, forces, crises, revolutions, governments, parties, and states. For example, I am not referring to Gramsci's philosophical conceptualizations of the dialectic and the theory-practice nexus, nor to his historical interpretations of the Italian Risorgimento and French Revolution. Naturally, this distinction among political-theoretical, philosophical-conceptual, and historical aspects is not meant to be a separation since there are important relationships among them; however, the distinction aims to avoid confusion. Fourth, I should like to make clear that it would be an intellectualist error to pretend that Gramsci's thought derives only from other thought, be it Mosca's, Croce's, or Marx's; there can be no doubt it derives also from Gramsci's practical activity as a labor-union, socialist, and communist organizer. Moreover, aside from the question of origins, it would be one-sided to suggest that the study of Gramsci's thought exhausts the interest for the person of Gramsci. Obviously, his life was a drama in which thought and action interacted in a dialectical manner, and it must be studied and understood in relation to the history of his time. (3)

Having granted that thought and action should be distinguished but not separated, and interrelated but not confused, it would be reductionist and prejudicial to stress his active political life or a part of it (such as the period 1921-26), and then interpret his thought on the basis of it. For one would thereby give the status of serious thought to things written by Gramsci when he did not have the time to reflect seriously, calmly, and coherently, as he himself admitted; (4) or one would be overstressing things written when he had the time (in prison), but whose content merely echoes previous events and thoughts.

Even the originator of the traditional Marxist interpretation of Gramsci (Palmiro Togliatti) had the occasion once to suggest that perhaps Gramsci should be interpreted in a way that transcends the history of Italian communism. In a passage which Togliatti wrote on the eve of his death he said: "it is certain that today ... I thought the person of Gramsci should be placed in a more vivid light, which transcends the historical vicissitudes of our party." (5) But this is easier said than done. How can Gramsci be placed in a new light which would transcend the vicissitudes of communism? Well, the critical comparison between the political thought of Mosca and Gramsci is one way of accomplishing this. (6)

The Gramsci-Mosca connection has been generally neglected. Of the more than ten thousand titles listed in the Gramscian bibliography, I think that only about ten deal with this topic. (7) Moreover, none of these essays undertakes a systematic and exhaustive examination, and almost all deal with the relationship between Gramsci and the elitist school in general, which includes also Pareto and Michels. On the other hand, Mosca scholars usually do not even bother to discuss the question explicitly in the body of their analyses, but do it incidentally, parenthetically, or in footnotes; (8) nevertheless, they usually admit the correctness of Gramsci's criticism of the Moschian concept of political class. In other words, no one seems to have studied in a direct, explicit, and special manner the Gramsci-Mosca relationship. (9)

In a sense it is not surprising that the Gramsci-Mosca relationship has been generally neglected, given that Mosca seems to have been a conservative, anti-Marxist, anti-socialist, and anti-communist, while Gramsci seems tied to the history of revolutionism, Marxism, socialism, and communism. However, this is at best a first approximation, whereas the obligation of a scholar is to try to penetrate beneath the surface of phenomena and to deepen the analysis of superficial appearances.

On the other hand, the connection, or at least the contrast, between Mosca and Gramsci has an initial plausibility, which could be explained as follows. Mosca was undoubtedly one of the most relevant, well-known, and influential scholars of political science during Gramsci's life; Mosca was in fact the founder of political science in Italy. Now, it is certain that the Prison Notebooks contain a research project in political science. Therefore, the critical examination of Mosca's doctrines by Gramsci would have been completely normal and natural.

To this one could object that the Notebooks contain other important aspects. However, I have no difficulty in granting this since I do not want to follow a reductionist approach. At any rate, it should be added that another very important Gramscian interest is the art of politics; and this fact reinforces the initial plausibility of the Gramsci-Mosca connection because the same is true of Mosca. In fact, although Mosca was not fond of the phrase "art of politics" (as Gramsci was), Mosca's work easily reveals an aspect which is often labeled "ideological." To speak less ideologically, one could say that Mosca's political doctrines have a practical function or normative dimension and are not an abstraction divorced from reality. Gramsci himself recognized that Mosca's work had a dimension of political art besides political science (Q1561-62). (10)

My suggestion is thus that the idea of a Gramsci-Mosca comparison is not at all desperate, but is more promising than it might seem. It is now time for this analysis to become more concrete. I will summarize some key points.

First, there are in the Notebooks many passages where Gramsci explicitly discusses Mosca's ideas and works. I would argue that the Gramscian critiques are partly constructive; in part, when they are theoretically negative, they often presuppose methodological similarities; and in part, when they are methodologically negative, they presuppose theoretical similarities. For example, Gramsci mentions some real lacunae in Mosca's concept of political class (Q1565) and gives an original reinterpretation of it from the viewpoint of his own theory of intellectuals (Q1956). Moreover, the prisoner criticizes some aspects of the approach in Mosca's main work, but reinterprets some of its main theses from the viewpoint of his own "science and art of politics" and theory of the "different aspects of relations of force" (Q1561-62). And Gramsci criticizes the 1925 republication of Mosca's book on the theory of governments, but appreciates its original 1884 edition, thus presupposing a type of contextualism or nonpejorative opportunism which Mosca in his own way also accepted. (11)

Moreover, there are many intellectual ties between the two thinkers; that is, frequently Gramsci expresses concepts and principles and follows approaches and orientations which have a Moschian character, without mentioning Mosca's name or stating the fact.

A crucial example of this theoretical convergence is Gramsci's recognition of the fundamental law of Mosca's political science, which I would call the analytical principle of elitism; that is, the formulation of the distinction between the governors and the governed or leaders and followers. Gramsci's formulation deserves to be quoted: "all of political science and art are based on this primordial and irreducible fact ... the fact that there exist leaders and followers, the governors and the governed" (Q1752). (12) And neither Mosca nor Gramsci limit themselves to a general and abstract formulation of the elitist principle. Both use and develop it in the analysis of specific phenomena. For example, Mosca (13) argued that even in a representative system of government, in which there are elections of the governors by the governed, the above mentioned principle continues to be valid, for it is not the popular majority which chooses freely the government officials, but it is the political elite which gets them elected, by proposing various candidates by means of various party mechanisms and other political organizations. And in the Notebooks Gramsci (Q1624-25) gives a similar elitist analysis of the electoral process, though he does it in a context in which he defends the principle of universal suffrage, whereas Mosca had been a critic of it.

Next, one of the most important shared characteristic is perhaps the one which involves the concept of democracy, namely the question of how to define the notion of democracy, the problem of the meaning to give to the concept. To me it is still a mystery how in so many discussions of the relationship between hegemony and democracy, hardly anyone has ever analyzed or even quoted the following Gramscian passage:

"Among the many meanings of democracy, the most realistic and concrete one seems to me to be that which connects with the concept of hegemony. In an hegemonic system, there is democracy between the leading group and the groups led to the extent that (the development of the economy and thus) the legislation (that expresses this development) favors the (molecular) transition from the groups led to the leading group. In the Roman Empire there existed an imperial-territorial democracy through the granting of citizenship to conquered peoples, etc. There could not be democracy in feudalism on account of the existence of closed groups, etc." [Q1056]

Now, this conception coincides with the definition of democratic tendency which Mosca elaborated in his maturity. (14) Gramsci uses this definition in many other discussions in the Notebooks (e.g., Q1634), and sometimes he even speaks of democracy as a "tendency" (Q1547-48), which is an emblematically typical Moschian characteristic.

Finally, we come to a particular but equally emblematic case of convergence between the two thinkers. This involves the speech delivered by Gramsci in the Chamber of Deputies of the Italian Parliament on May 16, 1925 against the bill on secret organizations, and the speech on the same subject made by Mosca at the Senate on November 18 of the same year. A comparative analysis of these two speeches is extremely important for at least two reasons. One is that Gramsci's speech is the first and only one he ever delivered in Parliament during his two years of service there, and so it is an intrinsically precious document. The other reason stems from the fact that both members of Parliament declare their opposition to the bill proposed by the Fascist government, and so we have a case where they are both on the same side from the point of view of practical politics.

Naturally, one may think at this point that their respective justifications for their common opposition could be very different, such as to express very different philosophies. Certainly it is abstractly possible to arrive at the same conclusion from different and even opposite premises, just as it is possible to arrive at opposite conclusions on the basis of partially common premises. These points are immediate consequences of the most elementary principles of logic. The issue here is whether this is in fact the situation in the case at hand. In fact, it is quite surprising that Gramsci's and Mosca's speeches share many similarities, and that their number and depth make the convergence nothing less than astonishing and spectacular.

The proposed law did not explicitly mention Freemasonry but rather secret organizations; however, it was commonly labeled the anti-Masonic law. The bill was presented in Parliament on January 12, 1925 by prime minister Mussolini and was entitled "Regulation of the Activities of Associations, Organizations, and Institutions and of the Membership therein by Employees of the State, of Provincial and Municipal Governments, and of Public-Service Institutions." (15) The first article of the law obliged all organizations to provide various kinds of information to the police, whenever the latter requested it; this was information about bylaws, the identity of officials, and membership lists; moreover, this article gave the chief of police the authority to disband an organization in case of failure to comply with the request. The second article prohibited all public employees from belonging to organizations which were formed and operated in a secret manner and whose members were bound to secrecy; the penalty for violation was dismissal. Before receiving final approval, the bill's second article was amended to include a retroactive clause to the effect that all public employees had to declare their past as well as current membership in such organizations, whenever requested to do so.

The convergences between Mosca and Gramsci involve the following points. First, both follow a realist or anti-formalist approach in the analysis of social and political phenomena, that is, they stress effective reality vis-a-vis both utopian ideals and superficial appearances. Second, both accept the fundamental principle of analytical elitism, according to which political leadership by organized minorities is indispensable for the masses and majorities, without thereby necessarily favoring the role of the former in an illegitimate manner. Third, Freemasonry is interpreted as an effective political organization which has had and continues to have an important role in Italian history. Fourth, both give a partially positive and favorable evaluation of Freemasonry, because of its progressive and democratic contribution according to Gramsci, and as a moderating and conservative force according to Mosca. Fifth, there is a common objection to the Fascist bill insofar as both predict that the new law will be used by the Fascist government to replace officials and employees who are or have been Freemasons with Fascists. Sixth, both object also on the basis of the prediction that the Fascists will abuse the new law, for Gramsci specifically in order to persecute proletarian organizations, and for Mosca in order to destroy the right of free association among dissidents.

Finally, as a consequence of these convergences, their respective arguments against the proposed law coincide in some essential points and thus may both be reduced to the following: the bill is unacceptable for two reasons; first, the new law would enable the Fascist government to replace with Fascists the administrative personnel of the state since Freemasonry has historically been the best organized political force in Italy; second, the new law would result in the persecution and suppression of opponents because its wording does not define a precise limit to the right of association and gives the government excessive powers of repression.

In summary, I have sketched a justification for an approach to Gramsci's political philosophy which I believe has some originality. It consists of reading his Prison Notebooks from the point of view of Mosca's political theory, interpreting the latter in terms of democratic elitism. I have mentioned two political-theoretical similarities between the two thinkers: the fundamental elitist principle and the conception of democracy in terms of open elites. I have also summarized at slightly greater length the curious and emblematic case of their 1925 Parliament speeches opposing the Fascist bill on Freemasonry.

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Notes

(1) P. Bachrach, The Theory of Democratic Elitism (Boston: Little, Brown and Company, 1967); A. J. Gregor, The Ideology of Fascism (New York: Free Press, 1969); R. A. Nye, The Anti-Democratic Sources of Elite Theory (London: Sage, 1977); and R. A. Dahl, Democracy and Its Critics (New Haven: Yale University Press, 1989), 2 and 264-79.

(2) For Marx, see J. V. Femia, Gramsci's Political Thought (Oxford: Clarendon Press, 1981). For Lenin, see L. Paggi, Le Strategie del potere in Gramsci (Rome: Riuniti, 1984); and cf. M. A. Finocchiaro, "Marxism, Science, and Religion in Gramsci: Recent Trends in Italian Scholarship," The Philosophical Forum 17(1985-86):127-55; and idem, Gramsci critico e la critica (Rome: Armando, 1988), 204-17. For Gentile, see A. Del Noce, Il suicidio della rivoluzione (Milan: Rusconi, 1978). For Machiavelli, see B. Fontana, Hegemony and Power (Minneapolis: University of Minnesota Press, 1993). And for Croce and Hegel, see M. A. Finocchiaro, Gramsci and the History of Dialectical Thought (Cambridge: Cambridge University Press, 1988).

(3) G. Fiori, Vita di Antonio Gramsci (Bari: Laterza, 1966); J. Joll, Antonio Gramsci (New York: Penguin, 1977); W. L. Adamson, Hegemony and Revolution (Berkeley: University of California Press, 1980); D. Germino, Antonio Gramsci (Baton Rouge: Louisiana State University Press, 1990); and G. Liguori, Gramsci conteso (Rome: Riuniti, 1996).

(4) A. Gramsci, Lettere dal carcere (Ed. S. Caprioglio and E. Fubini. Turin: Einaudi, 1965), 480; idem, Letters from Prison (2 vols. Trans. R. Rosenthal. Ed. F. Rosengarten. New York: Columbia University Press, 1994), 2:66; idem, Lettere dal carcere (Ed. A. A. Santucci. Palermo: Sellerio, 1966), 457-58.

(5) P. Togliatti, Antonio Gramsci (Rome: Riuniti, 1972), 218-19.

(6) For an outstanding example of another such attempt, see R. Holub, Antonio Gramsci (New York: Routledge, 1992).

(7) J. M. Cammett, ed., Bibliografia gramsciana: 1922-1988 (Rome: Riuniti, 1991); J. M. Cammett and M. L. Righi, eds., Bibliografia gramsciana: Supplement Updated to 1993 (Rome: Istituto Gramsci, 1995); M. A. Finocchiaro, "Mosca, Gramsci, and Democratic Elitism," in Italian Echoes in the Rocky Mountains, ed. S. Matteo, C. D. Noble, and M. U. Sowell (Provo, Utah: David M. Kennedy Center for International Studies, 1990), 135-50; and idem, "Gramsci, Mosca, e la Massoneria," Teoria politica 9(1993):135-61.

(8) J. H. Meisel, The Myth of the Ruling Class (Ann Arbor: University of Michigan Press, 1958), 270, 279, and 315; and E. Ripepe, Gli elitisti italiani (2 vols. Pisa: Pacini, 1974), 83-84.

(9) The available studies do, however, possess some merits; see the appreciation in Finocchiaro, Cramsci critico e la critica, 111-12. The most serious attempts so far have been by R. Medici, La metafora Machiavelli (Modena: Mucchi, 1990); and G. Zarone, Classe politica e ragione scientifica (Naples: Edizioni Scientifiche Italiane, 1990). A systematic analysis is now found in M. A. Finocchiaro, Beyond Right and Left: Democratic Elitism in Mosca and Gramsci (New Haven: Yale University Press, 1999).

(10) A. Gramsci, Quaderni del carcere (4 vols. Critical edition by V. Gerratana. Turin: Einaudi, 1975), 1561-62. Subsequent references to this work will be given only in parenthesis in the text, with the page number preceded by "Q."

(11) G. Mosca, Scritti politici (2 vols. Ed. G. Sola. Turin: UTET, 1982), 1040-42; and idem, The Ruling Class (Trans. H. D. Kahn. Ed. and intro. A. Livingston. New York: McGraw-Hill, 1939), 428-29.

(12) Mosca, Scritti politici, 608; idem, Ruling Class, 50.

(13) Mosca, Scritti politici, 711-12; idem, Ruling Class, 154.

(14) Mosca, Scritti politici, 1005; idem, Ruling Class, 395.

(15) B. Mussolini, "Disegno di Legge n. 314, 12 gennaio 1925," Atti Parlamentari, Camera del Deputati, Legislatura XXVII, Sessione 1924-25, Documenti, Disegni di Leggi e Relazioni, vol. 9, no. 314 (Rome: Tipografia della Camera dei Deputati, 1925).

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this paper was published at http://www.bu.edu/wcp/Papers/Poli/PoliFino.htm

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Al-Suhrawardi and the Philosophy of Light

Written by eastern writer on Tuesday, October 14, 2008

Our previous studies of Shihab al-Din Yahya al-Suhrawardi, commonly known as the Shaykh al-Ishraq, have put us in a position to appreciate the full importance of his work. In an imaginary topography, this work is situated at a crossroads. Al-Suhrawardi died just seven years before Averroes. At that moment, therefore, in western Islam, 'Arab Peripateticism' was finding its ultimate expression in the work of Averroes, so much so that western historians, mistakenly confusing Averroes' Peripateticism with philosophy pure and simple, have overlong persisted in maintaining that philosophy in Islam culminated in Averroes. Yet at the same time in the East, and particularly in Iran, the work of al-Suhrawardi was opening up the road which so many thinkers and spiritual seekers were to follow down to our own
days. It has already been suggested that the reasons for the failure and disappearance of 'Latin Avicennism' were in fact the same as those which lay behind the persistence of Avicennism in Iran; but from the background of this Avicennism the work of al-Suhrawardi, in one way or another, was never absent.

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Al-Suhrawardi's Doctrine and Phenomenology

Written by eastern writer on Tuesday, October 14, 2008

Book : Islamic Philosophy and Occidental Phenomenology on the Perennial Issue of Microcosm and Macrocosm
Publisher : Springer Netherlands
Copyright : 2006
ISBN : 978-1-4020-4114-3 (Print) 978-1-4020-4115-0 (Online)
Part : Section V
Pages : 263-276
Subject Collection : Humanities, Social Sciences and Law


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Culture industry reconsidered

Written by eastern writer on Monday, August 18, 2008

"The importance of the culture industry in the spiritual constitution of the masses is no dispensation for reflection on its objective legitimation, its essential being, least of all by a science which thinks itself pragmatic." That is the warning given by Adorno in this essay, in which he looks back at his earlier writings on the culture industry.



The term culture industry was perhaps used for the first time in the book Dialectic of Enlightenment, which Horkheimer and I published in Amsterdam in 1947. In our drafts we spoke of "mass culture". We replaced that expression with "culture industry" in order to exclude from the outset the interpretation agreeable to its advocates: that it is a matter of something like a culture that arises spontaneously from the masses themselves, the contemporary form of popular art. From the latter the culture industry must be distinguished in the extreme. The culture industry fuses the old and familiar into a new quality. In all its branches, products which are tailored for consumption by masses, and which to a great extent determine the nature of that consumption, are manufactured more or less according to plan. The individual branches are similar in structure or at least fit into each other, ordering themselves into a system almost without a gap. This is made possible by contemporary technical capabilities as well as by economic and administrative concentration.

The culture industry intentionally integrates its consumers from above. To the detriment of both it forces together the spheres of high and low art, separated for thousands of years. The seriousness of high art is destroyed in speculation about its efficacy; the seriousness of the lower perishes with the civilizational constraints imposed on the rebellious resistance inherent within it as long as social control was not yet total. Thus, although the culture industry undeniably speculates on the conscious and unconscious state of the millions towards which it is directed, the masses are not primary, but secondary, they are an object of calculation; an appendage of the machinery. The customer is not king, as the culture industry would have us believe, not its subject but its object. The very word mass-media, specially honed for the culture industry, already shifts the accent onto harmless terrain. Neither is it a question of primary concern for the masses, nor of the techniques of communication as such, but of the spirit which sufflates them, their master's voice. The culture industry misuses its concern for the masses in order to duplicate, reinforce and strengthen their mentality, which it presumes is given and unchangeable. How this mentality might be changed is excluded throughout. The masses are not the measure but the ideology of the culture industry, even though the culture industry itself could scarcely exist without adapting to the masses.

The cultural commodities of the industry are governed, as Brecht and Suhrkamp expressed it thirty years ago, by the principle of their realization as value, and not by their own specific content and harmonious formation. The entire practice of the culture industry transfers the profit motive naked onto cultural forms. Ever since these cultural forms first began to earn a living for their creators as commodities in the market-place they had already possessed something of this quality. But then they sought after profit only indirectly, over and above their autonomous essence. New on the part of the culture industry is the direct and undisguised primacy of a precisely and thoroughly calculated efficacy in its most typical products. The autonomy of works of art, which of course rarely ever predominated in an entirely pure form, and was always permeated by a constellation of effects, is tendentially eliminated by the culture industry, with or without the conscious will of those in control. The latter include both those who carry out directives as well as those who hold the power. In economic terms they are or were in search of new opportunities for the realization of capital in the most economically developed countries. The old opportunities became increasingly more precarious as a result of the same concentration process which alone makes the culture industry possible as an omnipresent phenomenon.

Culture, in the true sense, did not simply accommodate itself to human beings; but it always simultaneously raised a protest against the petrified relations under which they lived, thereby honoring them. In so far as culture becomes wholly assimilated to and integrated in those petrified relations, human beings are once more debased. Cultural entities typical of the culture industry are no longer also commodities, they are commodities through and through. This quantitative shift is so great that it calls forth entirely new phenomena. Ultimately, the culture industry no longer even needs to directly pursue everywhere the profit interests from which it originated. These interests have become objectified in its ideology and have even made themselves independent of the compulsion to sell the cultural commodities which must be swallowed anyway. The culture industry turns into public relations, the manufacturing of "goodwill" per se, without regard for particular firms or saleable objects. Brought to bear is a general uncritical consensus, advertisements produced for the world, so that each product of the culture industry becomes its own advertisement.

Nevertheless, those characteristics which originally stamped the transformation of literature into a commodity are maintained in this process. More than anything in the world, the culture industry has its ontology, a scaffolding of rigidly conservative basic categories which can be gleaned, for example, from the commercial English novels of the late seventeenth and early eighteenth centuries. What parades as progress in the culture industry, as the incessantly new which it offers up, remains the disguise for an eternal sameness; everywhere the changes mask a skeleton which has changed just as little as the profit motive itself since the time it first gained its predominance over culture.

Thus, the expression "industry" is not to be taken too literally. It refers to the standardization of the thing itself — such as that of the Western, familiar to every movie-goer — and to the rationalization of distribution techniques, but not strictly to the production process. Although in film, the central sector of the culture industry, the production process resembles technical modes of operation in the extensive division of labor, the employment of machines and the separation of the laborers from the means of production — expressed in the perennial conflict between artists active in the culture industry and those who control it — individual forms of production are nevertheless maintained. Each product affects an individual air; individuality itself serves to reinforce ideology, in so far as the illusion is conjured up that the completely reified and mediated is a sanctuary from immediacy and life. Now, as ever, the culture industry exists in the "service" of third persons, maintaining its affinity to the declining circulation process of capital, to the commerce from which it came into being. Its ideology above all makes use of the star system, borrowed from individualistic art and its commercial exploitation. The more dehumanized its methods of operation and content, the more diligently and successfully the culture industry propagates supposedly great personalities and operates with heart-throbs. It is industrial more in a sociological sense, in the incorporation of industrial forms of organization even when nothing is manufactured — as in the rationalization of office work — rather than in the sense of anything really and actually produced by technological rationality. Accordingly, the misinvestments of the culture industry are considerable, throwing those branches rendered obsolete by new techniques into crises, which seldom lead to changes for the better.

The concept of technique in the culture industry is only in name identical with technique in works of art. In the latter, technique is concerned with the internal organization of the object itself, with its inner logic. In contrast, the technique of the culture industry is, from the beginning, one of distribution and mechanical reproduction, and therefore always remains external to its object. The culture industry finds ideological support precisely in so far as it carefully shields itself from the full potential of the techniques contained in its products. It lives parasitically from the extra-artistic technique of the material production of goods, without regard for the obligation to the internal artistic whole implied by its functionality (Sachlichkeit), but also without concern for the laws of form demanded by aesthetic autonomy. The result for the physiognomy of the culture industry is essentially a mixture of streamlining, photographic hardness and precision on the one hand, and individualistic residues, sentimentality and an already rationally disposed and adapted romanticism on the other. Adopting Benjamin's designation of the traditional work of art by the concept of aura, the presence of that which is not present, the culture industry is defined by the fact that it does not strictly counterpose another principle to that of aura, but rather by the fact that it conserves the decaying aura as a foggy mist. By this means the culture industry betrays its own ideological abuses.

It has recently become customary among cultural officials as well as sociologists to warn against underestimating the culture industry while pointing to its great importance for the development of the consciousness of its consumers. It is to be taken seriously, without cultured snobbism. In actuality the culture industry is important as a moment of the spirit which dominates today. Whoever ignores its influence out of skepticism for what it stuffs into people would be naive. Yet there is a deceptive glitter about the admonition to take it seriously. Because of its social role, disturbing questions about its quality, about truth or untruth, and about the aesthetic niveau of the culture industry's emissions are repressed, or at least excluded from the so-called sociology of communications. The critic is accused of taking refuge in arrogant esoterica. It would be advisable first to indicate the double meaning of importance that slowly worms its way in unnoticed. Even if it touches the lives of innumerable people, the function of something is no guarantee of its particular quality. The blending of aesthetics with its residual communicative aspects leads art, as a social phenomenon, not to its rightful position in opposition to alleged artistic snobbism, but rather in a variety of ways to the defense of its baneful social consequences. The importance of the culture industry in the spiritual constitution of the masses is no dispensation for reflection on its objective legitimation, its essential being, least of all by a science which thinks itself pragmatic. On the contrary: such reflection becomes necessary precisely for this reason. To take the culture industry as seriously as its unquestioned role demands, means to take it seriously critically, and not to cower in the face of its monopolistic character.

Among those intellectuals anxious to reconcile themselves with the phenomenon and eager to find a common formula to express both their reservations against it and their respect for its power, a tone of ironic toleration prevails unless they have already created a new mythos of the twentieth century from the imposed regression. After all, those intellectuals maintain, everyone knows what pocket novels, films off the rack, family television shows rolled out into serials and hit parades, advice to the lovelorn and horoscope columns are all about. All of this, however, is harmless and, according to them, even democratic since it responds to a demand, albeit a stimulated one. It also bestows all kinds of blessings, they point out, for example, through the dissemination of information, advice and stress reducing patterns of behavior. Of course, as every sociological study measuring something as elementary as how politically informed the public is has proven, the information is meager or indifferent. Moreover, the advice to be gained from manifestations of the culture industry is vacuous, banal or worse, and the behavior patterns are shamelessly conformist.

The two-faced irony in the relationship of servile intellectuals to the culture industry is not restricted to them alone. It may also be supposed that the consciousness of the consumers themselves is split between the prescribed fun which is supplied to them by the culture industry and a not particularly well-hidden doubt about its blessings. The phrase, the world wants to be deceived, has become truer than had ever been intended. People are not only, as the saying goes, falling for the swindle; if it guarantees them even the most fleeting gratification they desire a deception which is nonetheless transparent to them. They force their eyes shut and voice approval, in a kind of self-loathing, for what is meted out to them, knowing fully the purpose for which it is manufactured. Without admitting it they sense that their lives would be completely intolerable as soon as they no longer clung to satisfactions which are none at all.

The most ambitious defense of the culture industry today celebrates its spirit, which might be safely called ideology, as an ordering factor. In a supposedly chaotic world it provides human beings with something like standards for orientation, and that alone seems worthy of approval. However, what its defenders imagine is preserved by the culture industry is in fact all the more thoroughly destroyed by it. The color film demolishes the genial old tavern to a greater extent than bombs ever could: the film exterminates its imago. No homeland can survive being processed by the films which celebrate it, and which thereby turn the unique character on which it thrives into an interchangeable sameness.

That which legitimately could be called culture attempted, as an expression of suffering and contradiction, to maintain a grasp on the idea of the good life. Culture cannot represent either that which merely exists or the conventional and no longer binding categories of order which the culture industry drapes over the idea of the good life as if existing reality were the good life, and as if those categories were its true measure. If the response of the culture industry's representatives is that it does not deliver art at all, this is itself the ideology with which they evade responsibility for that from which the business lives. No misdeed is ever righted by explaining it as such.

The appeal to order alone, without concrete specificity, is futile; the appeal to the dissemination of norms, without these ever proving themselves in reality or before consciousness, is equally futile. The idea of an objectively binding order, huckstered to people because it is so lacking for them, has no claims if it does not prove itself internally and in confrontation with human beings. But this is precisely what no product of the culture industry would engage in. The concepts of order which it hammers into human beings are always those of the status quo. They remain unquestioned, unanalyzed and undialectically presupposed, even if they no longer have any substance for those who accept them. In contrast to the Kantian, the categorical imperative of the culture industry no longer has anything in common with freedom. It proclaims: you shall conform, without instruction as to what; conform to that which exists anyway, and to that which everyone thinks anyway as a reflex of its power and omnipresence.

The power of the culture industry's ideology is such that conformity has replaced consciousness. The order that springs from it is never confronted with what it claims to be or with the real interests of human beings. Order, however, is not good in itself. It would be so only as a good order. The fact that the culture industry is oblivious to this and extols order in abstracto, bears witness to the impotence and untruth of the messages it conveys. While it claims to lead the perplexed, it deludes them with false conflicts which they are to exchange for their own. It solves conflicts for them only in appearance, in a way that they can hardly be solved in their real lives. In the products of the culture industry human beings get into trouble only so that they can be rescued unharmed, usually by representatives of a benevolent collective; and then in empty harmony, they are reconciled with the general, whose demands they had experienced at the outset as irreconcilable with their interests. For this purpose the culture industry has developed formulas which even reach into such non-conceptual areas as light musical entertainment. Here too one gets into a "jam", into rhythmic problems, which can be instantly disentangled by the triumph of the basic beat.

Even its defenders, however, would hardly contradict Plato openly who maintained that what is objectively and intrinsically untrue cannot also be subjectively good and true for human beings. The concoctions of the culture industry are neither guides for a blissful life, nor a new art of moral responsibility, but rather exhortations to toe the line, behind which stand the most powerful interests. The consensus which it propagates strengthens blind, opaque authority. If the culture industry is measured not by its own substance and logic, but by its efficacy, by its position in reality and its explicit pretensions; if the focus of serious concern is with the efficacy to which it always appeals, the potential of its effect becomes twice as weighty. This potential, however, lies in the promotion and exploitation of the ego-weakness to which the powerless members of contemporary society, with its concentration of power, are condemned. Their consciousness is further developed retrogressively. It is no coincidence that cynical American film producers are heard to say that their pictures must take into consideration the level of eleven-year-olds. In doing so they would very much like to make adults into eleven-year-olds.

It is true that thorough research has not, for the time being, produced an airtight case proving the regressive effects of particular products of the culture industry. No doubt an imaginatively designed experiment could achieve this more successfully than the powerful financial interests concerned would find comfortable. In any case, it can be assumed without hesitation that steady drops hollow the stone, especially since the system of the culture industry that surrounds the masses tolerates hardly any deviation and incessantly drills the same formulas on behavior. Only their deep unconscious mistrust, the last residue of the difference between art and empirical reality in the spiritual make-up of the masses explains why they have not, to a person, long since perceived and accepted the world as it is constructed for them by the culture industry. Even if its messages were as harmless as they are made out to be — on countless occasions they are obviously not harmless, like the movies which chime in with currently popular hate campaigns against intellectuals by portraying them with the usual stereotypes — the attitudes which the culture industry calls forth are anything but harmless. If an astrologer urges his readers to drive carefully on a particular day, that certainly hurts no one; they will, however, be harmed indeed by the stupefication which lies in the claim that advice which is valid every day and which is therefore idiotic, needs the approval of the stars.

Human dependence and servitude, the vanishing point of the culture industry, could scarcely be more faithfully described than by the American interviewee who was of the opinion that the dilemmas of the contemporary epoch would end if people would simply follow the lead of prominent personalities. In so far as the culture industry arouses a feeling of well-being that the world is precisely in that order suggested by the culture industry, the substitute gratification which it prepares for human beings cheats them out of the same happiness which it deceitfully projects. The total effect of the culture industry is one of anti-enlightenment, in which, as Horkheimer and I have noted, enlightenment, that is the progressive technical domination of nature, becomes mass deception and is turned into a means for fettering consciousness. It impedes the development of autonomous, independent individuals who judge and decide consciously for themselves. These, however, would be the precondition for a democratic society which needs adults who have come of age in order to sustain itself and develop. If the masses have been unjustly reviled from above as masses, the culture industry is not among the least responsible for making them into masses and then despising them, while obstructing the emancipation for which human beings are as ripe as the productive forces of the epoch permit.


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From: New German Critique, 6, Fall 1975, 12-19 (translated by Anson G. Rabinbach)

source: http://www.icce.rug.nl

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Quote on Art and Literature

    "There is only one school of literature - that of talent."
~ Vladimir Nabokov (1899 - 1977)



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