Professional Documents
Culture Documents
Roger Foster
Critical theory, by its very nature, opposes reduction beginning. Yet, as we shall see, the shortcomings of
to a corpus of historically frozen doctrine. None was his own project are also largely due to a continued
more acutely aware than the inner circle of the Institut adherence to the critical framework opened by the
für Sozialforschung that a theory which resists adapt- ʻKantian turnʼ, of which Habermas remains the chief
ation to the changing nature of society forsakes its expositor.
critical purpose, turning instead into another form of
theoretical dogmatism.1 Rather than being identified Culture and criticism
through commitment to a fixed body of ideas, critical In an early essay, entitled ʻCommunication and Recon-
theory might be defined by what Horkheimer, in his ciliation: Habermasʼs Critique of Adornoʼ, Honneth
well-known essay ʻTraditional and Critical Theoryʼ, affirmed the necessity of Habermasʼs efforts to ground
termed the ʻcritical attitudeʼ. This denotes a commit- a normative framework for critique, as a way out of
ment to social change which is conscious of itself as the allegedly intractable pessimism and negativism
an intervention whose claim to validity is inextricable which marked Adornoʼs philosophy, after the Frankfurt
from the demands of the historical juncture in which Schoolʼs original interdisciplinary research programme
it arises. To do ʻcritical theoryʼ, then, is always to be had been rendered obsolete. Essentially, this essay con-
engaged in a process of reconstruction and reformu- stituted a more or less faithful Habermasian reading of
lation. The work of Axel Honneth constitutes a power- the problems of Adornoʼs project, charging that, having
ful and ambitious attempt to extend this tradition, reduced rationality to instrumental rationality, Adorno
by developing a theoretical perspective capable of was forced to locate the potential for reconciliation
deciphering the changed logics of social struggle in in the ʻmimetic knowledgeʼ of the artwork.2 Because
late modern societies. Adorno does not distinguish between the normative
Honneth claims that the diverse and fragmentary terms of social interaction and the logic of the appro-
forms of struggle which occur along the multiple priation of nature, he is forced to deploy an ʻovertaxingʼ,
axes of gender, sexuality, race, ethnicity and class ʻtheologicalʼ model of reconciliation. Thus it is only
can be brought under the theoretical umbrella of a through endorsing Habermasʼs distinction between the
morally motivated struggle for recognition, in which praxis of intersubjective interaction and the poiesis of
social actors raise normative claims against social engagement with objects that one can recover the pos-
arrangements in which they feel ʻdisrespectedʼ. Before sibility of ʻtheoretically guided political practiceʼ.3 Yet
discussing this project in greater detail, I shall begin also, and importantly, Honneth locates a central failing
by looking at how Honneth has attempted to dis- of Adornoʼs later work in its inability to formulate any
tinguish the ʻcritical theory of recognitionʼ from ʻfirst- idea of, or theoretical basis for, collective struggle.
generationʼ Frankfurt School theorists (Horkheimer The immediate penetration into consciousness of the
and Adorno), as well as from Habermas. I believe ideological products of the culture industry, together
it can be shown that Honneth manages to overcome with the (alleged) absolute separation between the
a number of the most problematic features that have mimetic knowledge of the artwork and the instrumental
dogged Habermasʼs theoretical endeavours from the rationality prevalent in society, meant that ʻthe