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But only our MAXIMA MORALIA - our commitment to real human kindness - will give us Love again, and only through the Grace of God. Which follows German song. [conclusion of Hölderlin’s Patmos] – Artists like George have rejected free verse as an inferior form, as a hybrid of meter and prose. They are rebutted by Goethe and Hölderlin’s late hymns. Their technical gaze takes free verse, for what it considers itself. They are deaf to the history, which stamps its expression. Only in the epoch of its decay are free rhythms nothing but intermittent prose sections, set in an elevated tone. Where free verse proves itself to be a form of its own essence [ Wesens], it has emerged from the metrical strophe, pressing beyond subjectivity. It turns the pathos of the meter against its own claim, the strict negation of what is most strict, just as musical prose, emancipated from the symmetry of the eight-beat meter, is due to the implacable principles of construction, which matured in the articulation of what is tonally regular. In free rhythm, the rubble of artistically rhymeless antique strophes finds its voice. These latter, foreign, extend into modern languages and serve, by virtue of such foreignness, to express what is not exhausted in communication. But they give way, unsalvageably, to the flood of language in which they were raised. They signify, with brittleness, in the midst of the realm of communication and not to be separated from the latter by any caprice, distance and stylization – incognito, as it were – and without privilege, until the wave of dreams washes over the helpless verses, as in Trakls lyrics. It is not for nothing that the epoch of free verse was the French revolution, the debut of human dignity and human equality. But isn’t the conscious procedure of such verse similar to the law, which language above all obeys in its unconscious history? Isn’t all worked prose actually a system of free rhythms, the attempt to provide cover for the magic bane [Bann] of what is absolute and the negation of its appearance [Scheins], an exertion of the Spirit [Geistes], to rescue the metaphysical force [ Gewalt] of the expression by virtue of its own secularization? If this were so, then a ray of light would fall on the labor of Sisyphus, which every prose author has taken on themselves, since demythologization has passed over into the destruction of language itself. Linguistic quixotry has become a commandment, because every sentence structure contributes to the decision as to whether language as such, ambiguous from Ur-times to the present, falls prey to the bustle and the dedicated lies, which belong to such, or whether it becomes a sacred text, by making itself demure towards the sacred element, from which it lives. The ascetic sealing off of prose against verse is tantamount to an oath of fealty to song. 143 When released from a psych ward, I was a Damaged, Obfuscated Droid - but I then chose the straight and narrow way for my own. If one has even the slightest qualms about a completed work, regardless of its length, then one should take such with inordinate seriousness, out of all proportion to the level of relevance which it might register. The affective investment [ Besetzung] in a text and vanity tend to minimize such misgivings. What is passed over with the tiniest doubt, may well indicate the objective worthlessness of the whole.
The mythical message of doom renews itself in the radio. Whoever broadcasts something important in an authoritarian manner, broadcasts trouble. In English solemn [in English in original] means ceremonial and threatening. The power of the society behind the speaker turns by itself against the listener. He wants to clearly reveal the impasse of modern man. But he has proved to me that my way of overcoming that impasse in myself has worked. Inter pares. – [Latin: among equals] In the realm of erotic qualities, a revaluation seems to be occurring. Under liberalism, well into our day, married men from high society who were unsatisfied with their strictly brought up and correct spouses absolved themselves in the company of female artists, bohemians, sugar babies [ süsse Mädeln: sweet maidens] and cocottes. With the rationalization of society this possibility of unregimented happiness has disappeared. The cocottes are extinct, the sugar babies probably never existed in Anglo-Saxon countries and other lands of technical civilization, while the female artists and those bohemians who exist parasitically in the mass culture are so thoroughly permeated with the latter’s reason, that those who flee in longing to their anarchy, to the free accessibility of their own use-value, are in danger of waking up to the obligation of engaging them as assistants, if not at least recommending them to a film-executive or scriptwriter they know. The only ones who are still capable of something like irrational love are precisely those ladies who the spouses once fled on excursions to Maxim’s [Maxim: famous restaurant in Paris]. While they are as tiresome to their own husbands, due to the latter’s fault, as their own mothers, they are at least capable of granting to others, what all others have withheld from them. The long since frigid libertine represents business, while the proper and well brought up lady represents yearning and unromantic sexuality. In the end, the ladies of society garner the honor of their dishonor, in the moment when there is no more society and no more ladies. 13If one wakes up in the middle of a dream, even the most troubling, one is disappointed and feels as if one had been cheated of what is best. Yet there are as few happy, fulfilled dreams as, in Schubert’s words, happy music. Even the most beautiful ones retain the blemish of their difference from reality, the consciousness of the mere appearance [ Schein] of what they grant. That is why even the most beautiful dreams are somehow damaged. This experience is unsurpassable in the description of the nature theater of Oklahoma in Kafka’s America. In the nineteenth century the Germans painted their dream, and it always turned into a vegetable. The French needed only to paint a vegetable, and it was already a dream. Minima Moralia is a book in aphorisms, a genre that Adorno learned from exemplars such as Friedrich Nietzsche and Karl Kraus. Like Nietzsche, it conveys its claims in lightning strikes of paradox and wit; and, like Nietzsche, it occasionally trades in blusterous certitudes. It is perhaps regrettable that Adorno, the critic of all fetishism, is most celebrated for the overstatements that lend themselves to fetishistic quotation. “In psychoanalysis,” he writes, “nothing is true except the exaggerations.” A philosopher less enchanted with hammer-blows might respond that in Adorno’s thinking whatever is true must be salvaged from the exaggerations. The burden is often shifted to the reader, who must complete Adorno’s thoughts for him but can assent only to what survives rational elucidation. “Thinking that renounces argument,” Adorno once said, “switches into pure irrationalism.” bölümü 1946-7 yıllarında yazmış Adorno, yani savaşın bittiği, faşizmin yenilgisinin ardından. Bu bölüm ilk iki bölüme göre hüküm verici metinlerden çok sorgulayıcı metinlere dönüşmüş, daha genel konular yanında uslupta da az da olsa serlikte azalmanın görüldüğü denemeler dikkat çekiyor. English spoken. [in English in original] – In my childhood I often received books as gifts from elderly British ladies, with whom my parents maintained relations: richly illustrated children’s books, and even a tiny green Bible bound in leather. All were in the language of the gift-givers: none of them thought to ask whether I could actually read them. The peculiar inaccessibility of the books, which sprang at me with pictures, huge titles and vignettes, without giving me any chance to decipher the text, led me to believe that these weren’t really books at all, but rather advertisements, perhaps for machines, like the ones my uncle produced in his London factory. Since I have come to live in Anglo-Saxon countries and to speak English, this consciousness has not dimmed but rather strengthened. There is a girl’s song from Brahm, based on a poem by Heyse, which goes: “Oh heart’s woe, you eternity / only self-other is bliss for me.” In the most popular American version, this is rendered as: “O misery, eternity! / But two in one were ecstasy.” The passionate, medieval-era nouns of the original have been turned into brand names of hit songs, which sing the praises of the latter. In the light they switch on, the advertising-character of culture radiates . 27
My thoughts on this from the bottom up are a bit scattered, but the short summaThat Leporello complained about insufficient provisions and too little money, is a reason to doubt the existence of Don Juan. Diagnosis. – That the world has meanwhile turned into the system which the Nazis unjustly berated as the lax Weimar Republic, is evident in the pre-established harmony between institutions and those who they serve. A humanity is secretly emerging, which hungers for the compulsion and restriction, which the nonsensical continuation of domination imposes. These human beings however have, favored by the objective social arrangement, seized hold of the functions which by rights ought to generate dissonance against the pre-established harmony. Among all the cashiered slogans, one stands out: “pressure produces counter-pressure”– yet if the former becomes powerful enough, then the latter disappears, and society appears to want to contribute considerably to entropy, by a deadly equilibrium of tensions. The scientific enterprise has its exact equivalent in the kind of minds [ Geistesart], which it harnesses: they need hardly do any violence to themselves, proving eager and willing administrators of their own selves. Even when they prove to be quite humane and reasonable beings outside of the enterprise, they freeze into pathic stupidity the moment they think professionally. Far from perceiving such prohibitions on thought as something hostile, the candidates – and all scientists are candidates – feel relieved. Because thinking burdens them with a subjective responsibility, which their objective position in the production-process prevents them from fulfilling, they renounce it, shake a bit and run over to the other side. The displeasure of thinking soon turns into the incapacity to think at all: people who effortlessly invent the most refined statistical objections, when it is a question of sabotaging a cognition, are not capable of making the simplest predictions of content ex cathedra [Latin: from the chair, e.g. Papal decision]. They lash out at the speculation and in it kill common sense. The more intelligent of them have an inkling of what ails their mental faculties, because the symptoms are not universal, but appear in the organs, whose service they sell. Many still wait in fear and shame, at being caught with their defect. All however find it raised publicly to a moral service and see themselves being recognized for a scientific asceticism, which is nothing of the sort, but the secret contour of their weakness. Their resentment is socially rationalized under the formula: thinking is unscientific. Their intellectual energy is thereby amplified in many dimensions to the utmost by the mechanism of control. The collective stupidity of research technicians is not simply the absence or regression of intellectual capacities, but an overgrowth of the capacity of thought itself, which eats away at the latter with its own energy. The masochistic malice [ Bosheit] of young intellectuals derives from the malevolence [ Bösartigkeit] of their illness. 81 Kafka was an enthusiastic reader of Kierkegaard, but he is connected to the existential philosopher only insofar as one can speak of “annihilated existences.”
Bru, Sascha; Huemer, Wolfgang; Steuer, Daniel (2013-10-29). Wittgenstein Reading. Walter de Gruyter. ISBN 978-3-11-029469-9. The book exercised a profound influence over the development of critical theory, and, along with his other major books, has continued to influence generations of scholars, writers and artists across fields including aesthetics, moral philosophy, cultural studies, sociology, and psychology. [1] [2] [3] Title and subtitle [ edit ] This aphorism from Minima Moralia refers to the impossibility of setting up private happiness amid a society's catastrophic developments. Modern societies have a tendency to impact every sphere of a life. That doesn't free us from trying to achieve a real life, however. And Adorno most certainly didn't aim to write proverbs for calendars. Birinci völümü 1944’de yazmaya başlamış. İkinci bölümü 1945’de. Yani bir mülteciyken, Amerika’da, ülkesinden uzakta, ancak ülkesindeki faşizmi neredeyse beş duyusuyla hissettiği zamanlarda başlamış yazılarına. Adorno yaşadığı çağı tüm yönleriyle yaşayan çağının insanıdır; bir tarafta mülteci bir aydın olarak sığındığı ülkenin bireyciliğini ve çıkarcılığını görmekte, diğer tarafta Hitler faşizminin insanlığı yok edişini görüyor, duyuyor, okuyor. “Minima Moralia” böyle bir dönemin ve böyle bir kişinin eseri olan çok sert, iç karartıcı ve yakıcı, köşeli bir metinler bütünü. urn:lcp:minimamoraliaref0000ador_p2l6:epub:db9e41a6-5edc-43b4-95e4-491aadeb7f43 Foldoutcount 0 Identifier minimamoraliaref0000ador_p2l6 Identifier-ark ark:/13960/t7rp4zn02 Invoice 1652 Isbn 1844670511Fear-mongering does not apply. – What the truth might objectively be, remains difficult enough to discern, but when dealing with human beings one should not allow oneself to be terrorized by this. There are criteria there, which seem satisfying at first. One of the most reliable is the reproach that an expression is “too subjective.” If this is laid down with that indignation, which echoes with the furious harmony of all reasonable people, then one has reason to be satisfied with oneself for a couple of seconds. The concepts of what is subjective and what is objective have been completely inverted. Objective means the non-controversial side of the phenomenon [ Erscheinung], its unquestioned imprint, taken as it is, the facade constructed out of classified data, therefore the subjective; and they call subjective, whatever breaks through such, emerging out of the specific experience of the thing, divesting itself of prejudged convention and setting the relation to the object in place of the majority decision concerning such, which they cannot even see, let alone think – therefore, what is objective. How vacuous the formal objection to subjective relativity is, can be observed in its own actual field, that of aesthetic judgments. Those who have subjected themselves in earnest, out of the energy of their precise reaction, to the discipline of a work of art, to the compulsion of its shape, of its immanent law of form, find the objection against what is merely subjective in their experience dissolving like a threadbare appearance [ Schein], and every step they take further into the matter, by virtue of their extreme subjective innervation, has incomparably greater objective power than comprehensive and much-vindicated conceptual formations, such as that of “style,” whose scientific claim comes at the cost of such experience. This is doubly true in the era of positivism and of the culture-industry, whose objectivity is calculated by administrating subjects. In contrast to this, reason has fled completely into eyeless [ fensterlos] idiosyncrasy, which the caprice of the power-brokers castigates as caprice, because they want the powerlessness of subjects, out of fear of the objectivity, which alone is sublated in these subjects. 44 Before the eighty-fifth birthday of an in all respects well cared-for man, I dreamed that I asked myself the question, what could I give him which would make him truly happy, and immediately received the answer: a guide through the realm of the dead. Actual or perceived crises lead to the desire to see it all end. Far-right movements today are still characterized by these catastrophic traits, which arehalf fear and half nostalgia. This interdisciplinary volume revisits Adorno's lesser-known work, Minima Moralia, and makes the case for its application to the most urgent concerns of the 21st century. Contributing authors situate Adorno at the heart of contemporary debates on the ecological crisis, the changing nature of work, the idea of utopia, and the rise of fascism.
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