Monday, April 11, 2022

MARXISM AND THE GOD QUESTION: PERSPECTIVES FROM THE FRANKFURT SCHOOL

By Rob Clements
July 22, 2013


Walter Benjamin Introduction


…even the savviest writers sometimes have
difficulty discerning whether a source is [Girl thinking about writing]
00:2805:17


Walter Benjamin (1892–1940) is kind of hard to avoid—no matter how hard you try. This guy is everywhere. Why? Because he wrote on just about everything. We'll let a professional book reviewer take the reins for a second and list some of Benjamin's fave things to write:

metaphysical treatises, literary-critical monographs, philosophical dialogues, media-theoretical essays, book reviews, travel pieces, drug memoirs, whimsical feuilletons, diaries and aphorisms, modernist miniatures, radio plays for children, reflections on law, technology, theology and the philosophy of history, analyses of authors, artists, schools and epochs (source)

But wait! There's more!

He also wrote about the pleasures of smoking hashish. Okay, now that's it.

Don't get us wrong: Benjamin did not practice random acts of criticism. As wide-ranging as his work was, he was always focused on a few main themes. Let's take a look:

  • He was a leftist critic of aesthetics. Translation: he hated Nazis, and he felt that art in the "age of mechanical reproduction" could be used for revolutionary purposes. Further translation: new photographic technology was going to help emancipate the people. That's what his uber-famous "The Work of Art in the Age of Mechanical Reproduction" (1936) is all about. Well, that and a zillion other things.
  • Benjamin was fascinated by history and didn't think it could be told as one linear, progressing narrative. To him, history was a collection of images and fragments, so that's how he wrote about it. (Speaking of which, Benjamin was all about writing in fragments—a sentence here, a sentence there. Get used to it.)
  • He was captivated by Jewish history and Judaic ideas of Messianic time. Benjamin firmly believed that the Messiah would come and rescue humanity from Fascism and other ugly oppressions. Note: his version of the Messiah was not a long-haired, beatific-looking dude in flowing white robes. According to Benjamin, the Messiah coming to seek vengeance for all of those who had been subjugated was the people themselves. Deep.
  • Benjamin loved him some Paris. The city, where he lived starting in 1933, was one of his biggest inspirations. He wrote a ton about malls (the 19th-century version), those iron-and-glass covered halls called "arcades." See: his ginormous and somehow unfinished book called The Arcades Project. He also wrote about French poets like Baudelaire, Parisian street life, and flâneurs, the 19th-century version of the mall crawler/people watcher.

ARTICLE

LONG READ

"Even the Dead Won't Be Safe": Walter Benjamin's Final Journey

In late September 1940, the German-Jewish intellectual, Walter Benjamin, embarked on a dangerous and ultimately ill-fated journey across the Pyrenees to escape the Nazis.
September 30, 2020


Top Image: Walter Benjamin, 1927. Image by Germaine Krull.

As German columns rolled across the border with the Grand Duchy of Luxembourg on May 10, 1940, 14 year old Arno Mayer climbed into a two-door Chevrolet with his parents, his sister, and his grandfather. A middle-class Jewish family, the Mayers had no illusions about what Nazi Germany’s invasion meant for them. They stayed ahead of the Wehrmacht and successfully avoided German aircraft, making it to France. After moving from town to town, they left France via Marseilles and arrived in Algeria. The following month, Arno’s father obtained American immigration visas in Casablanca, Morocco, in a manner strikingly similar to the plot of the classic film with Humphrey Bogart. In late winter of 1941, the family sailed, separately, from Portugal, setting foot in New York City four weeks apart. They survived. Resisting pressure to evacuate Luxembourg, Mayer's maternal grandparents fared far worse. Both were later deported to Theresienstadt, where his grandfather perished in December 1943. One of the lucky ones, Arno Mayer, who later became a leading historian of modern Europe, coined the term "Judeocide" in the 1980s to comprehend as best as humanly possible the annihilation of millions of Jews like his grandfather.

Hundreds of thousands of Jews in Western Europe were not nearly so fortunate. Among them was the German-Jewish intellectual, Walter Benjamin, in exile in France since 1933. Conventional routes of escape closed quickly as Nazi Germany occupied much of France and all of the Low Countries. To slip the Gestapo’s nets, Benjamin had to improvise. Four months after the German invasion, he embarked on a dangerous and ultimately ill-fated journey across the Pyrenees.

Walter Benjamin (1892-1940) was one of the seminal critics of modern cultural life (literature, theater, philosophy, theology, the study of language, the metropolis and its temptations and perils, painting, architecture, photography, radio, and the motion picture). While it is disgraceful that he was never offered an academic position, typical scholarly boundaries and territorialism could not contain him. Benjamin’s intellect was prodigious, restless, and nomadic.

Some of the most important Central European intellectuals of the twentieth century befriended Benjamin and attested to his brilliance.

“Everything which fell under the scrutiny of his words,” contended Theodor W. Adorno, “was transformed, as though it had become radioactive.

"His capacity for continually bringing out new aspects, not by exploding conventions through criticism, but rather by organizing himself so as to be able to relate to his subject-matter in a way that seemed beyond all convention—this capacity can hardly be adequately described by the concept of ‘originality.’” Hannah Arendt, with whom Benjamin became close in Paris during the 1930s, cautioned that “to describe adequately his work and him as an author within our usual framework of reference, one would have to make a great many negative statements,” in other words, spend an inordinate amount of time clarifying what Benjamin was not.

Gershom Scholem, the great scholar of Kabbalah and Jewish mysticism, recalled of Benjamin the “immediate impression of genius: the lucidity that often emerged from his obscure thinking; the vigor and acuity with which he experimented in conversation; and the unexpectedly serious manner, spiced with witty formulations; in which he would consider the things that were seething within me.” His distant cousin, Günther Stern, later to gain renown under the pseudonym Günther Anders for his works on technology and the atomic bomb, said of Benjamin, “next to him we are all unsubtle barbarians.” None of these recollections exaggerate.

Returning to his writings and his life, particularly, the awful end he met, I reflect on how fortunate I was to study Benjamin and his friend and interlocutor, Siegfried Kracauer, at the University of Chicago with Miriam Bratu Hansen in 1996-1997. Hansen, whose mother, Ruth Bratu, escaped from Czechoslovakia in a Kindertransport in 1939, had studied with Adorno at the University of Frankfurt. Her essays on Benjamin, mass media, and mass culture, commencing with the 1987 “Benjamin, Cinema, Experience,” set the standard for scholarship in English on these subjects. After I finished my master’s work with her, I still eagerly sought out every new article she published on Benjamin, Kracauer, or Adorno. Miriam struggled with cancer for 13 years before passing away at the far too young age of 61 in 2011. This article on the last years of Benjamin’s life is dedicated to her.



Against disenchantment

The move away from myth and toward reason is an ancient human impulse. But must enchantment be the enemy of enlightenment?


Saint George and the Dragon (c1909-10), by Odilon Redon. Courtesy the Barnes Foundation, Philadelphia

Jason Josephson Storm
is chair and associate professor in the department of religion at Williams College in New England. His latest book is The Myth of Disenchantment: Magic, Modernity, and the Birth of the Human Sciences (2017).

Edited by Sam Dresser


Enlightenment’s programme was the disenchantment of the world… The disenchantment of the world means the extirpation of animism… the Enlightenment detected a fear of the demons through whose effigies human beings had tried to influence nature in magic rituals.
Max Horkheimer and Theodor Adorno, Dialectic of Enlightenment (1944)

The past few years have seen a resurgence of interest in the Frankfurt School – a group of German sociologists, philosophers, cultural theorists, psychoanalysts and their students – whose work is now synonymous with critical theory. Most of the initial members of the Frankfurt School came together in the 1920s at the Institute for Social Research in the German city of Frankfurt. Because most of the early members were Jews, many either perished or fled Germany when the Nazis came to power. The cross-fertilisation of critical social science with philosophy was particularly fertile ground. Today, their studies of ‘the Authoritarian Personality’ and Right-wing populism, and their denunciations of the ‘poverty’ of consumer culture, have come to look downright prescient.

Two of the Frankfurt School’s most important members were the philosophers Max Horkheimer (1895-1973) and Theodor Adorno (1903-69). They initially met in 1921 in a seminar on gestalt psychology at the Goethe University in Frankfurt where Adorno was an undergraduate and Horkheimer a PhD student. But their intellectual relationship really blossomed under their shared experiences as German émigrés in the United States during the Second World War years, leading to some of the sustained critiques of late-capitalist society that have made the Frankfurt School famous. As Alex Ross recently put it in The New Yorker: ‘If Adorno were to look upon the cultural landscape of the 21st century, he might take grim satisfaction in seeing his fondest fears realised.’

The single most important work produced by the Frankfurt School was the book that Horkheimer and Adorno co-authored, the monumental Dialectic of Enlightenment (1944, revised 1947), an attempt to diagnose the maladies of modernity by understanding how modernity could have produced the horrors of fascism and Stalinism alike.

To risk a broad overview for the uninitiated, Horkheimer and Adorno construct their text around the unfolding dialectical opposition between ‘enlightenment’ (Aufklärung) and ‘myth’ (Mythos). The roots of this antagonism can be found in a dilemma that could as easily be psychological as historical. Humans, who see nature as outside of ourselves, are presented with a choice: either we can elect to submit to a mysterious, mythological world full of magic and frighteningly capricious spirits; or we can elect to subdue nature. By choosing the second option and turning nature into an object to control, humanity was caught in its own trap. Chasing the domination of nature, humans began to dominate each other. Rather than being liberated into a new kind of autonomy as they had hoped, people were instead turned into objects or, more properly, into abstractions, mere numbers and statistics, leading to a new backlash of irrational forces. As Horkheimer and Adorno summarised it, ‘enlightenment reverts to mythology’. The objectification of nature had directly led toward the objectification of humanity; the concentration camps and Gulag followed.

To make sense of this narrative trajectory, we need to know that, despite a whole crowd of scholars who see themselves as defending the historical Enlightenment from Horkheimer and Adorno’s critique, the Dialectic of Enlightenment portrays ‘enlightenment’ not primarily as a particular historical period, but as an ancient human impulse ‘aimed at liberating human beings from fear and installing them as masters’ over nature. They identify its modern patriarch as the 17th-century empiricist Sir Francis Bacon, evoking the scientific revolution.

The Dialectic of Enlightenment provides an account of the ascendancy of enlightenment explicitly keyed to the ‘disenchantment of the world’, which they suggest first and foremost meant ‘the extirpation of animism’ and the end of belief in magic, spirits and demons. As Horkheimer and Adorno argue, ‘the mind, conquering superstition, [was supposed] to rule over disenchanted nature’. Magic and spirits had to go if the world was to be amenable to systematic and rational interpretation. To be sure, they also described what they saw as a contemporary ‘regression’ to myth and magic in capitalistic commodification and fascist politics as a kind of backlash to enlightenment, but they generally presumed disenchantment as the return’s precondition

TO READ ON CLICK ON THE URL IN THE HEADER 
Music as Secularized Prayer: On Adorno’s Benjaminian Understanding of Music and its Language-Character

Mattias Martinson
Pages 205-220 | Published online: 25 Sep 2018

Download citation
https://doi.org/10.1080/17570638.2018.1525020


In this article
Materialism and Musical Authenticity
Walter Benjamin and Language
Language as Such and Music as Such
Music as Intention-less Language
Music, Metaphysics, and Theology
Music as Secularized Prayer
Disclosure statement
Footnotes
References






ABSTRACT


In this essay I draw attention to conceptual similarities in Walter Benjamin’s and Theodor W. Adorno’s reflection about language, with special attention to Benjamin’s 1916 essay about language as such, including its theological impulses. In Adorno’s case, I concentrate on language theory as it comes forth in relation to his philosophy of music and the supposed language-character of music. I argue that this particular connection between Benjamin and Adorno is largely unexplored in the literature, and I show that their conceptual affinities have far-reaching consequences for a proper understanding of Adorno’s philosophy as a whole. Music is of fundamental importance for Adorno’s critical theory, and this fact points to an intricate entwinement between materialism and theology, stemming from Benjamin’s theory of language. Thinking of music as secularized prayer means to emphasize that music relates to reality in a way that resembles the logic of Benjamin’s understanding of a pre-lapsarian language of divine names.

Musik ist sprachähnlich. Ausdrücke wie musikalisches Idiom, musikalischer Tonfall, sind keine Metaphern. Aber Musik ist nicht Sprache. Ihre Sprachähnlichkeit weist den Weg ins Innere, doch auch ins Vage. Wer Musik wörtlich als Sprache nimmt, den führt sie irre. (Adorno 1978, 251 )

 

Theodor W. Adorno (1903–1969) is undoubtedly one of the most distinguished music philosophers of all times, although still a highly controversial one. The verdicts about him vary from “grouchy uncle who doesn’t like any music written in the last 20 years” (Miller 2011), to “the first philosopher since Pythagoras to have something new to say about music” (Hullot-Kentor 2008, 54).1

In this essay I will not concentrate on the allegedly upsetting aspects of Adorno’s thought on music and commercial culture, which are well documented.2 However, in order to go further to the interesting side of his philosophy of music, a few things that stand behind the controversial features of his thought on music will have to be mentioned. First of all: his approach to music is thoroughly normative. Adorno makes clear statements concerning the authenticity and inauthenticity of individual musical works or oeuvres, depending on various factors.3 But he is also normative in the sense that musical expressions are evaluated in a manner that comes close to an evaluation of referential language; they appear to be taken as true or false.

In Adorno’s view, however, music can be neither wholly authentic, nor absolutely logical, nor exactly like signifying language, but its character is, in various senses, similar to language: “Musik ist sprachähnlich” (Adorno 1978, 251) – it has a “language-character” (Paddison 1991). Among other things, this gives music a distinctly cognitive aspect, which demands a serious theoretical reflection that may at lead us towards a more qualified debate about the problem of truth (Bowie 2007, 309–375).

In this context, “the problem of truth” can be comprehended as follows: how do we develop a theoretical perspective on our own time that is critically aware of the fact that we cannot transcend our context and establish a neat package of truth to have at our disposal; and yet – to approach an idea developed further by Michel Foucault in his late lecture series at Collège de France – one that is rigorously focused on the idea of a desirable, empathic truth; truth as something that we do not have at hand and therefore need to strive towards as something that may change us and liberate us (compare with Foucault 2005, 19)? It is against the backdrop of such a question about truth that I will approach the truth-dimension of Adorno’s philosophy of music, by giving close attention to an often-neglected affinity with Walter Benjamin’s early philosophy of language.4

Before I move further into that particular discussion, however, I would like to say something more about the controversial side of Adorno’s music philosophy. What about the music that Adorno generally understands as inauthentic or heteronomous? How is this inauthenticity and heteronomy related to musical authenticity and autonomy? The answers are to be found in Adorno’s materialism.

KEEP READING HERE 



 The Anxiety of Influence:

Adorno’s Grappling with Walter
Benjamin’s Mysticism

by Menachem Feuer




Anyone who reads Walter Benjamin can sense, from the very first sentences of any of his essays or books, that his writing is influenced by mysticism. But Benjamin was torn between mysticism and the political. While his friend Gershom Scholem encouraged him to pursue the mystical and the theological, other friends, like Bertolt Brecht and Theodor Adorno, suggested that Benjamin move more toward the political. With this tension in mind, it’s fascinating to see how Adorno describes Benjamin’s mystical tendencies in his essay “A Portrait of Walter Benjamin.” In Adorno’s descriptions we can see that he was grappling with Walter Benjamin’s mystical influences and the mystical aspects of his work. To be sure, one can sense Adorno’s anxiety around this subject.

Adorno begins his attempt with a simple statement about the main, singular theme of “Benjamin’s philosophy”:

The reconciliation of myth is the theme of Benjamin’s philosophy. (234, Prisms)

After he points this out, Adorno notes that this theme, “as in good musical variations,” “rarely states itself openly.” Rather, it hides and has to be read by way of hermeneutics that is acutely aware of the things we find in esoteric texts. Adorno associates this kind of hermeneutics with Kabbalah and, strangely enough, blames Kabbalah (and Gershom Scholem, indirectly) for the theme’s failure to be stated in a clear manner and “legitimated”:

Instead it remains hidden and shifts the burden of its legitimation to Jewish mysticism, to which Benjamin was introduced in his youth by his friend, Gershom Scholem, the distinguished student of cabbala. (234)

Because of this influence, Adorno is confused. He knows Benjamin was influenced by Kabbalah but he doesn’t know to “what extent” Benjamin was “influenced by the neo-platonic and antinomian-messianic tradition.” Apparently, Benjamin never told him and kept the extent of his influence to himself. Benjamin didn’t shoot from the hip; he kept his cards to himself. But there is much evidence that he did make use of the mystical-textual ruse.

There is much to indicate that Benjamin – who hardly ever showed his cards and who was motivated by a deeply seated opposition to thought of the shoot-from-the-hip variety…- made use of the popular mystic technique of pseudo-epigraphy.

Adorno suspects he did this because Benjamin no longer believed that one could access truth through “autonomous reflection.” The text is “sacred.” And like a Torah exegete, one needs to be surprised by the truth, to come across it by way of textual commentary and criticism. Instead of language being the “bearer of meaning or even expression,” Benjamin thought of language as the “crystallization of the ‘name.’”(234).

Why would Benjamin do this?

Adorno surmises, after grappling with Benjamin’s mystical tendencies, that Benjamin appealed to the notion of the sacred text because he was looking to save something of the “theological heritage” from oblivion:

He transposed the idea of the sacred text into the sphere of enlightenment, into which, according to Scholem, Jewish mysticism itself tends to culminate dialectically. His ‘essayism’ consists in treating profane texts as though they were sacred. This does not mean that he clung to theological relics or, as religious socialists, endowed the profane with transcendent significance. Rather, he looked to radical, defenseless profanation as the only chance for the theological heritage which squandered itself in profanity. (234)

The “key to the picture puzzles is lost,” but, says Adorno, they “must, as a baroque poem about melancholy says, ‘speak themselves.’”(235). Adorno mocks this when he suggests that this “procedure resembles Thorstein Veblen’s quip, that he studied foreign languages by staring at each word until he know what it meant”(235). In other words, simply looking at words – just looking at them – would in some way save something of a theological heritage. This suggests form, but not content. Adrono says that, given this approach to language, “the analogy” between Benjamin and “Kafka is unmistakable.” However, while Kafka retained, in his most “negative” moments, an “element of the rural, epic tradition,” Benjamin retains the more “urban.” Although Adorno’s rural/urban contrast is interesting, he doesn’t develop it. Apparently, it’s just a side note.

The next line shows us that Adorno just gives up: Adorno skips to Benjamin’s “mature period” because grappling with Benjamin’s mystical character makes him too anxious and, quite frankly, frustrated. This Benjamin, the mystical one, is “immature.” Adorno wants to deal with the more mature Benjamin who apparently leaves mysticism behind.

Adorno tells us that Benjamin exchanged the mystical exegetical hermeneutic for a more political one:

During his mature period, Benjamin was able to give himself over to socially critical insights without there being the slightest mental residue, and still without having to ban even one of his impulses. Exegetical power became the ability to see through the manifestations and utterances of bourgeois culture as hieroglyphs of its darkest secret – as ideologies. (235)

What many people might miss is that this kind of Benjamin, the more political one, is in Adorno’s comfort zone. He doesn’t have to grapple with this side of Benjamin’s work. To be sure, while Brecht wanted Benjamin to drop Kafka and the mystical, Adorno prompted Benjamin to create an “image of the bow” as the model for his Kafka essay: it would retain the tension between the political and the mystical.

But, as we can see from the above passage, Adorno had little patience for this. He had no interest in Benjamin’s mystical influences because, as we saw above, Benjamin could not “legitimate” his main theme. The “reconciliation of myth,” for Adorno, had to be legitimated through an exegesis directed at “bourgeois culture” and its “darkest secret…ideologies.” Anything short of that made Adorno anxious. We also see that what Adorno was anxious about is the fact that he had no idea how influenced Benjamin was by neo-Platonism and the antinomian-messianic tradition. One wonders why. Perhaps Adorno was worried that if Benjamin was very influenced by these mystical traditions and beliefs, his interest in political exegesis would ultimately be of secondary importance to him. And that worry is legitimate since that would suggest that Benjamin was more interested in the possibility of religion and faith than in politics.






On the Art of the Kabbalah

(De Arte Cabalistica)
Johann Reuchlin
Translated by Martin and Sarah Goodman
Introduction by G. Lloyd Jones
Introduction to this edition by Moshe Idel

376 pages
Introduction, Illus., woodcut
Paperback
November 1993
978-0-8032-8946-8
$29.95Add to Cart

About the Book
Reuchlin’s keen interest in Jewish mysticism resulted in the original publication of this work in 1517. The first part of this dialogue reflects on messianism, the second part on the relation of the Pythagorean system to the Kabbalah, and the third on the "practical Kabbalah."

The German humanist Johann Reuchlin (1455-1522) defended the value of Jewish scholarship and literature when it was unwise and unpopular to do so. As G. Lloyd Jones points out, "A marked mistrust of the Jews had developed among Christian scholars during the later Middle Ages. It was claimed that the rabbis had purposely falsified the text of the Old Testament and given erroneous explanations of passages which were capable of a christological interpretation." Christian scholars most certainly did not advocate learning the Hebrew language.

Reuchlin was exceptional in pursuing and promoting Hebrew studies, believing that a working knowledge of that language was essential for a true appreciation of the Bible and rabbinic literature. Refusing to join Christian contemporaries who wished to destroy the Kabbalah and the Talmud, he spoke out against ignorance. Christians could have a useful dialogue with Jews if they gained a thorough knowledge of the writings of Jewish exegetes and philosophers. Toward that end he proposed university endowments that aroused the fury of opponents and led to the famous "battle of the books."

Reuchlin's keen interest in Jewish mysticism resulted in the publication of De arte cabalistica in 1517. The first part of this dialogue reflects on messianism, the second part on the relation of the Pythagorean system to the Kabbalah, and tdhe third on the "practical Kabbalah." According to Jones, "Reuchlin demonstrates how Christians can make profitable use of Jewish mystical writings, and therefore shares with the reader his understanding of the art of the Kabbalah." That art will reach more readers in this modern English-language translation by Martin and Sarah Goodman. It reinforces the historical importance of the man who prevented the destruction of Jewish books and anticipated the more liberal climate of the Reformation.