Behind every work of art is an uncommitted crime. ~Theodore W. Adorno
[This post is a continuation of, “Christianity and Critical Theory, Part 1: Marx and Frankfurt.” (And again, this is not an endorsement of these ideas; critique is forthcoming.)]
From Enlightenment to Critical Theory
In what is considered Critical Theory’s most seminal work, Dialectic of Enlightenment, Max Horkheimer and Theodore W. Adorno critically interrogate the principles, goals, location, and historical effects of the project of Enlightenment. Consistent with the dialectical approach discussed in the last post, they see within the project both the immanent seeds of current human bondage and suffering, as well as the immanent seeds of emancipation therefrom. For Frankfurt theorists in general, social artifacts and systems are not to be analyzed in terms of a-historical transcendent ideologies; rather, they are to be critiqued as the products of contradictory internal forces which produce both the pathologies experienced by its individual actors, as well as the immanent forces of its own dissolution, both of which reside in the tension of existential experience until transformational crisis ensues.