What is often misunderstood on this point is that the Frankfurt School were not the cause of the apparent breakdown of social values but were drawing attention to the way in which capitalism was ineluctably smashing up the old certainties. Marx also noted that in capitalism "all that is solid melts into air". Here, de Sade is brought in along with Nietzsche to demonstrate how modernity and the Enlightenment have brought about the transvaluation of all values and undermined all traditions. This control is exercised not only through direct repression but through the apparently non-ideological aspects of our everyday lives, in particular the ways in which modernity encourages us to fulfil and pursue our desires rather than have them crushed and controlled. This convergence had done away with the worst excesses of class exploitation and replaced it with a sort of social complicity between the classes undergirded by recourse to mythologies and ideological control. Their view is that fascism, Stalinism and consumer capitalism all produced the widespread socialisation of the means of production and the corporatisation of the economy, with a central role for the state. Leading on from the theory of negative dialectics, Dialectic of Enlightenment argues that enlightenment values themselves are not automatically progressive and that the potentially liberating process of the unfolding of human freedom, as Hegel and indeed Marx posited it, is undermined by our enslavement within the totality of capitalist social relations. Authentic culture directly resists commodification and punishes audiences for expecting to be entertained. For Adorno and Horkheimer, authentic culture is not simply to be equated with high culture, which is equally commodified. It is probably a good thing that they didn't live to see The X Factor and OK! magazine. This is, of course, not peculiar to capitalism, but in capitalism it finds its full commodified form so that we become the willing consumers and reproducers of our own alienation by becoming consumers rather than producers of culture. It arrives at a pessimistic view of what can be done against a false system which, through the "culture industry", constantly creates a false consciousness about the world around us based on myths and distortions deliberately spread in order to benefit the ruling class. Although the surface appearance of oppressive mechanisms were obviously different, for them, the underlying rule of capital was the same.ĭialectic of Enlightenment, perhaps the central text of the Frankfurt school, was written by Adorno and Max Horkheimer during these years in exile. Most important in this context, the thinkers of the Frankfurt school did not draw a great distinction between various forms of capitalism, be they consumerist democracies or fascist dictatorships. In one of the most famous aphorisms from Minima Moralia, published in 1951, philosopher Theodor W Adorno says that it is not possible to live a true life in a false system. Ernst Bloch described the US as "a cul-de-sac lit by neon lights" – almost a template for a David Lynch film – and they felt that a society obligated to the pursuit of individualised happiness was the epitome of a world of shallow and inauthentic surfaces and insincerity. Changing their country more often than they changed their shoes, as Bertolt Brecht put it, they ended up in the US during the Hitler years and although this was a refuge for them, it was not a society they felt had anything to offer humanity.
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