351
Part VII: Back from the Abyss--Habermas and Critical Theory after the 1960s
3
terms
1
notes
anodyne
(en)
(noun) a painkilling drug or medicine
362
bulwark
(en)
(noun) defensive wall
369
For it is in the lifeworld that Habermas finds the potential bulwarks against the evisceration of social life by capitalism, state and what his colleague Marcuse called one-dimensional society
the public sphere
notable
7 years, 2 months ago
For it is in the lifeworld that Habermas finds the potential bulwarks against the evisceration of social life by capitalism, state and what his colleague Marcuse called one-dimensional society
the public sphere
notable
7 years, 2 months ago
aporia
(en)
(noun) an expression of real or pretended doubt or uncertainty especially for rhetorical effect / (noun) a logical impasse or contradiction / (noun) a radical contradiction in the import of a text or theory that is seen in deconstruction as inevitable
380
he had found at the centre of his intellectual web what critical theorists virtuosically discovered in other thinkers’ theories, namely an aporia (a word taken from the Greek for ‘no passage’, and often signifying perplexity).
on Habermas
confirm
7 years, 2 months ago
he had found at the centre of his intellectual web what critical theorists virtuosically discovered in other thinkers’ theories, namely an aporia (a word taken from the Greek for ‘no passage’, and often signifying perplexity).
on Habermas
confirm
7 years, 2 months ago
388
Grown-ups buy line-caught salmon, they don’t read Dialectic of Enlightenment. History has stopped and we live, don’t we, in the best of all possible worlds? In that best of all possible worlds, at the end of history, wrote Fredric Jameson in Late Marxism (1990), ‘the question about poetry after Auschwitz has been replaced with that of whether you could bear to read Adorno and Horkheimer next to the pool’. [...]
referencing a scene from Franzen's The Corrections
Grown-ups buy line-caught salmon, they don’t read Dialectic of Enlightenment. History has stopped and we live, don’t we, in the best of all possible worlds? In that best of all possible worlds, at the end of history, wrote Fredric Jameson in Late Marxism (1990), ‘the question about poetry after Auschwitz has been replaced with that of whether you could bear to read Adorno and Horkheimer next to the pool’. [...]
referencing a scene from Franzen's The Corrections