Critical theory
Critical Theory to the theories of the assembly of thinkers associated to the School of Frankfurt is denominated: Adornment, Walter Youngest child, Max Horkheimer, Marcuse, Jürgen Habermas, Oskar Negt or Hermann Schweppenhäuser, among others. The Critical Theory describes to a assembly of theories in different fields from the thought - esthetic, arts, anthropology, sociology and especially philosophy that influenced firstly by a creative re-reading of the marxism seted out to create a way to watch of the reality that revolutionary and outside especially transforming. For that reason the critical theory would have to be an approach that more than to try to interpret had to be able to transform the world. For this reason, the thinkers of this tradition are especially transdiciplinares and for that reason we called thinkers here more than philosophers. This direction to processing is what characterizes to the critical theory in opposition to the traditional theory. It comes from the social Research institute of the Frankfurt University, formed in 1923. Their more eminent thinkers were Theodor Adorno and Max Horkheimer, who was its director. This school firstly was influenced by the call western marxism of raigambre more hegeliana - in opposition to the Soviet marxism marked by the rigidity of estalinismo-. Another major influence of this first time is the theories of Max Weber and the understanding of modernity like a rationalization movement and desencantamiento of the world. Progressively they went using material diverse like the psychoanalysis and the analysis of the art and the culture of masses. With the ascent of Hitler to the power, the Institute had to move to Member States from where it was continued working in the understanding of the totalitarianism. In this period the school of Frankfurt - as it is known him popularly strongly were influenced by the marxism as the theory bases on which the other theories and influences articulate. Nevertheless after the end of World War II, the marxism lost force within this current since it was not easy to explain how in a supposedly Marxist country like the USSR the totalitarianism in keys very similar to those of fascism was possible. For that reason the authors investigated in how modernity conceived the power and how our form to include/understand it forms to us, or these in terms technicians, us more subjective. That effort was shaped in one of the most important books of this school “Dialectic of the Illustration philosophical Fragments” as well as in “Critic of the instrumental ratio” the predominant influence is the one of Weber There. The central thesis of the critical theory is that it is not possible to understand the failure of modernity in creating a shared in common world - as it only indicated Marx taking care of economic ratios. On the contrary, the answer is in the way in as modernity it understands the reports of being able and as it is related to the difference and the otherness. For that reason the problem does not only concentrate in the economic sphere but also in the cultural field. For that reason the school of Frankfurt was pioneering in the analyzes of the culture of masses, like the cinema, Literature, the television and the publicity. To the point that today in Member States critical theory is understood like synonymous of analysis of culture of masses, beyond the theories of the School of Frankfurt. Many authors denominate to this period the one of the “classic critical theory” centered in authors as Adornment, Horkheimer, Pollok, etc., to soon differentiate them from other generations of philosophers of this current like Habermas and Offe and Wermell.
Dialectic of the IllustrationHorkheimer and Adorno indicate in “Dialectic of the Illustration philosophical Fragments” that the Illustration has a way to conceive the power reports that from the beginning cause that we face the difference and the otherness of a conflicting way. The modern trials of subjetivación - understanding by so all those formative social and cultural trials that explain what we have gotten to be they characterize by its tendency to the homogenization and destruction of the difference. This way the ratio is used of an especially destructive way that undermines the liberating potentials that always modernity had. It takes to Habermas to indicate that modernity has a truncated emancipatory project that still can be carried out, but that is necessary to return to reinterpretar the rationality from a free point of view of domination. Nevertheless, authors like Hermann Schweppenhäuser or Christoph Türcke have questioned that Habermas is a legitimate continuator of the critical theory of Horkheimer and Adorno, since its reinterpretación of a free rationality of dominion supposes the resignation to some of the fundamental pretensions of these and the heredity of the western marxism. In “Dialectic of the Illustration” Adorno and Horkheimer they maintain the ruin of the civilization, definitively ill-fated. Happening or decurso of the trial of the civilization settles like dialectic report between the myth and the illustration. Thus, in seniority, mythology had constituted an attempt of domination and explicitación of the nature. The Illustration undressed to the world of that magical dimension, but, surreptitiously, it invented his new myths, secretly. At the moment in which the authors wrote this work lived with crudity a contemporary example on that one to which they were talking about: the false pseudorational foundation of the demential theory of the Nazis who maintained the lacking myth of all ratio of the “superiority” of the Germans, on the other races. It is as of century XVIII, of the Illustration or the lights, that the culture of the West had related of inextricable way its future and its reversion to the use of the ratio. But the rationalization introduced by this trial would have to generate in the long run its opposite position. Indeed, when mediating century XX the barbarism had been enthroned anywhere in the world European. And until it had failed in a whole that ratio, because it had been manipulated to give “rationality” to the totally irrational person. The same ratio had taken care to give rise to the ascent to the unforseeable madness of the nacionalsocialismo. The bourgeois order, the ratio and its rationality, had made possible the arrival of Hitler. And everything, until the unthinkable limits of the slaughters of Auschwitz. Adornment no longer is going to deposit its hopes in the rationality, but, rather in the art and the culture. But it did not aim at any form of art, but at the vanguards opposed to the artistic manifestations of mass of century XX, in increasing deployment. In Member States good the advance could be known overwhelming this “The cultural industry”, meanwhile, she was safe of the fidelity of his clients. Everything was deriving towards a culture of the banal and superficial entertainment. This gradually went away transforming and it would be had to continue transforming into an overwhelming unifying element of the individuality, independence, the capacity of thought of the subject. Its forecast of the future, was thus discouraging, unlike the position maintained by Walter Youngest child, that based hopes in the average innovators of the company, thinking, decidedly in the films, the photography and the recording elements. The vision that Adorno and Horkheimer wove on the amassed Western civilization has a shady dye señaladamente. Watching the past the brutal barbarism of nazism is had, and watching forwards a man-mass community can be watched in which the freedom is atrophied by the handlings of the cultural industry. Bibliography
Articles and analyzes on the subjectIt is also seenCategories: Philosophical currents | School of Fráncfort |
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