The most important work by a key figure in German thought, Helmuth Plessner's Levels of Organic Life and the Human, originally published in 1928, appears here for the first time in English, accompanied by a substantial Introduction by J. M. Bernstein, after having served for decades as an influence on thinkers as diverse as Merleau-Ponty, Peter Berger, Habermas, and the new naturalists. The Levels, as it has long been known, draws on phenomenological, biological, and social scientific sources as part of a systematic account of nature, life, and human existence. The book considers non-living nature, plants, non-human animals, and human beings in turn as a sequence of increasingly complex modes of boundary dynamics-simply put, interactions between a thing's insides and surrounding world. On Plessner's unique account, living things are classed and analyzed by their "positionality," or orientation to and within an environment. "Life" is thereby phenomenologically defined, and its universal yet internally variable features such as metabolism, reproduction, and death are explained. The approach provides a foundation not only for philosophical biology but philosophical anthropology as well. According to Plessner's radical view, the human form of life is excentric-that is, the relation between body and environment is something to which humans themselves are positioned and can take a position. This "excentric positionality" enables human beings to take a stand outside the boundaries of their own body, a possibility with significant implications for knowledge, culture, religion, and technology. Plessner studied zoology and philosophy with Hans Driesch in the 1910s before embarking on a highly productive philosophical career. His work was initially obscured by the superficially similar views of Max Scheler and Martin Heidegger and by his forced exile during World War II. Only in recent decades, as scholarship has moved more squarely into engagement with issues like animality, embodiment, human dignity, social theory, the philosophy of technology, and the philosophy of nature, has the originality and depth of Plessner's vision been appreciated. A powerful and sophisticated account of embodiment, the Levels shows, with reference both to science and to philosophy, how life can be seen on its own terms to establish its own boundaries, and how, from the standpoint of life, the human establishes itself in relation to the nonhuman. As such, the book is not merely a historical monument but a source for invigorating a range of vital current conversations around the animal, posthumanism, the material turn, and the biology and sociology of cognition. This modern philosophical classic, long-awaited in English translation, is a key book both historically and for today's interest in understanding philosophy and social theory together with science, without reducing the former to the latter.

On Jean Amery provides a comprehensive discussion of one of the most challenging and complex post-Holocaust thinkers, Jean Amery (1912-1978), a Jewish-Austrian-Belgian essayist, journalist and literary author. In the English-speaking world Amery is known for his poignant publication, At the Mind's Limits, a narrative of exile, dispossession, torture, and Auschwitz. In recent years, there has been a renewed interest in Amery's writings on victimization and resentment, partly attributable to a modern fascination with tolerance, historical injustice, and reconciliatory ambitions. Many aspects of Amery's writing have remained largely unexplored outside the realm of European scholarship, and his legacy in English-language scholarship limited to discussions of victimization and memory. This volume offers the first English language collection of academic essays on the post-Holocaust thought of Jean Amery. Comprehensive in scope and multi-disciplinary in orientation, contributors explore central aspects of Amery's philosophical and ethical position, including dignity, responsibility, resentment, and forgiveness. What emerges from the pages of this book is an image of Amery as a difficult and perplexing-yet exceptionally engaging-thinker, whose writings address some of the central paradoxes of survivorship and witnessing. The intellectual and ethical questions of Amery's philosophies are equally pertinent today as they were half-century ago: How one can reconcile with the irreconcilable? How can one account for the unaccountable? And, how can one live after catastrophe?

The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

This volume, the first sustained critical work on the French political philosopher Etienne Balibar, collects essays by sixteen prominent philosophers, psychoanalysts, anthropologists, sociologists, and literary critics who each identify, define, and explore a central concept in Balibar's thought. The result is a hybrid lexicon-engagement that makes clear the depth and importance of Balibar's contribution to the most urgent topics in contemporary thought. The book shows the continuing vitality of materialist thought across the humanities and social sciences and will be fundamental for understanding the philosophical bases of the contemporary left critique of globalization, neoliberalism, and the articulation of race, racism, and economic exploitation. Contributors: Emily Apter, Etienne Balbar, J. M. Bernstein, Judith Butler, Monique David-Menard, Hanan Elsayed, Didier Fassin, Stathis Gourgouris, Bernard E. Harcourt, Jacques Lezra, Patrice Maniglier, Warren Montag, Adi Ophir, Bruce Robbins, Ann Laura Stoler, Gary Wilder

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W.Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Lessing, Kant, Schiller, and Schlegel to Adorno and Stanley Cavell. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, Theirry de Duve, and Arthur Danto; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

This volume brings together major works by German thinkers who were extremely influential in the crucial period of aesthetics prior to and after Kant. It includes the first translation into English of Schiller's Kallias Letters and Moritz's on the Artistic Imitation of the Beautiful, and new translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. The volume features an introduction in which J.M. Bernstein places the works in their historical and philosophical context.

This volume brings together major works by German thinkers who were extremely influential in the crucial period of aesthetics prior to and after Kant. It includes the first translation into English of Schiller's Kallias Letters and Moritz's on the Artistic Imitation of the Beautiful, and new translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. The volume features an introduction in which J.M. Bernstein places the works in their historical and philosophical context.

Theodor W. Adorno (1903-1969) was the leading philosopher of the first generation of the Frankfurt School and is best known for his contributions to aesthetics and social theory. In this highly original contribution to the literature on Adorno, J.M. Bernstein offers the first attempt in any language to provide an account of the ethical theory latent in Adorno's writings. This book will be widely acknowledged as the standard work on Adorno's ethics and will interest professionals and students of philosophy, political theory, sociology, history of ideas, art history and music.

This volume, the first sustained critical work on the French political philosopher Etienne Balibar, collects essays by sixteen prominent philosophers, psychoanalysts, anthropologists, sociologists, and literary critics who each identify, define, and explore a central concept in Balibar's thought. The result is a hybrid lexicon-engagement that makes clear the depth and importance of Balibar's contribution to the most urgent topics in contemporary thought. The book shows the continuing vitality of materialist thought across the humanities and social sciences and will be fundamental for understanding the philosophical bases of the contemporary left critique of globalization, neoliberalism, and the articulation of race, racism, and economic exploitation. Contributors: Emily Apter, Etienne Balbar, J. M. Bernstein, Judith Butler, Monique David-Menard, Hanan Elsayed, Didier Fassin, Stathis Gourgouris, Bernard E. Harcourt, Jacques Lezra, Patrice Maniglier, Warren Montag, Adi Ophir, Bruce Robbins, Ann Laura Stoler, Gary Wilder

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, and Theirry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

Deciding what is and what is not political is a fraught, perhaps intractably opaque matter. Just who decides the question; on what grounds; to what ends-these seem like properly political questions themselves. Deciding what is political and what is not can serve to contain and restrain struggles, make existing power relations at once self-evident and opaque, and blur the possibility of reimagining them differently. Political Concepts seeks to revive our common political vocabulary-both everyday and academic-and to do so critically. Its entries take the form of essays in which each contributor presents her or his own original reflection on a concept posed in the traditional Socratic question format "What is X?" and asks what sort of work a rethinking of that concept can do for us now. The explicitness of a radical questioning of this kind gives authors both the freedom and the authority to engage, intervene in, critique, and transform the conceptual terrain they have inherited. Each entry, either implicitly or explicitly, attempts to re-open the question "What is political thinking?" Each is an effort to reinvent political writing. In this setting the political as such may be understood as a property, a field of interest, a dimension of human existence, a set of practices, or a kind of event. Political Concepts does not stand upon a decided concept of the political but returns in practice and in concern to the question "What is the political?" by submitting the question to a field of plural contention. The concepts collected in Political Concepts are "Arche" (Stathis Gourgouris), "Blood" (Gil Anidjar), "Colony" (Ann Laura Stoler), "Concept" (Adi Ophir), "Constituent Power" (Andreas Kalyvas), "Development" (Gayatri Spivak), "Exploitation" (Etienne Balibar), "Federation" (Jean Cohen), "Identity" (Akeel Bilgrami), "Rule of Law" (J. M. Bernstein), "Sexual Difference" (Joan Copjec), and "Translation" (Jacques Lezra)

In this unflinching look at the experience of suffering and one of its greatest manifestations-torture-J. M. Bernstein critiques the repressions of traditional moral theory, showing that our morals are not immutable ideals but fragile constructions that depend on our experience of suffering itself. Morals, Bernstein argues, not only guide our conduct but also express the depth of mutual dependence that we share as vulnerable and injurable individuals. Beginning with the attempts to abolish torture in the eighteenth century, and then sensitively examining what is suffered in torture and related transgressions, such as rape, Bernstein elaborates a powerful new conception of moral injury. Crucially, he shows, moral injury always involves an injury to the status of an individual as a person-it is a violent assault against his or her dignity. Elaborating on this critical element of moral injury, he demonstrates that the mutual recognitions of trust form the invisible substance of our moral lives, that dignity is a fragile social possession, and that the perspective of ourselves as potential victims is an ineliminable feature of everyday moral experience.

The most important work by a key figure in German thought, Helmuth Plessner's Levels of Organic Life and the Human, originally published in 1928, appears here for the first time in English, accompanied by a substantial Introduction by J. M. Bernstein, after having served for decades as an influence on thinkers as diverse as Merleau-Ponty, Peter Berger, Habermas, and the new naturalists. The Levels, as it has long been known, draws on phenomenological, biological, and social scientific sources as part of a systematic account of nature, life, and human existence. The book considers non-living nature, plants, non-human animals, and human beings in turn as a sequence of increasingly complex modes of boundary dynamics-simply put, interactions between a thing's insides and surrounding world. On Plessner's unique account, living things are classed and analyzed by their "positionality," or orientation to and within an environment. "Life" is thereby phenomenologically defined, and its universal yet internally variable features such as metabolism, reproduction, and death are explained. The approach provides a foundation not only for philosophical biology but philosophical anthropology as well. According to Plessner's radical view, the human form of life is excentric-that is, the relation between body and environment is something to which humans themselves are positioned and can take a position. This "excentric positionality" enables human beings to take a stand outside the boundaries of their own body, a possibility with significant implications for knowledge, culture, religion, and technology. Plessner studied zoology and philosophy with Hans Driesch in the 1910s before embarking on a highly productive philosophical career. His work was initially obscured by the superficially similar views of Max Scheler and Martin Heidegger and by his forced exile during World War II. Only in recent decades, as scholarship has moved more squarely into engagement with issues like animality, embodiment, human dignity, social theory, the philosophy of technology, and the philosophy of nature, has the originality and depth of Plessner's vision been appreciated. A powerful and sophisticated account of embodiment, the Levels shows, with reference both to science and to philosophy, how life can be seen on its own terms to establish its own boundaries, and how, from the standpoint of life, the human establishes itself in relation to the nonhuman. As such, the book is not merely a historical monument but a source for invigorating a range of vital current conversations around the animal, posthumanism, the material turn, and the biology and sociology of cognition. This modern philosophical classic, long-awaited in English translation, is a key book both historically and for today's interest in understanding philosophy and social theory together with science, without reducing the former to the latter.

Theodor W. Adorno (1903-1969) was the leading philosopher of the first generation of the Frankfurt School and is best known for his contributions to aesthetics and social theory. In this highly original contribution to the literature on Adorno, J.M. Bernstein offers the first attempt in any language to provide an account of the ethical theory latent in Adorno's writings. This book will be widely acknowledged as the standard work on Adorno's ethics and will interest professionals and students of philosophy, political theory, sociology, history of ideas, art history and music.

The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

Theodor Adorno's Aesthetic Theory (1970) offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts.

Deciding what is and what is not political is a fraught, perhaps intractably opaque matter. Just who decides the question; on what grounds; to what ends-these seem like properly political questions themselves. Deciding what is political and what is not can serve to contain and restrain struggles, make existing power relations at once self-evident and opaque, and blur the possibility of reimagining them differently. Political Concepts seeks to revive our common political vocabulary-both everyday and academic-and to do so critically. Its entries take the form of essays in which each contributor presents her or his own original reflection on a concept posed in the traditional Socratic question format "What is X?" and asks what sort of work a rethinking of that concept can do for us now. The explicitness of a radical questioning of this kind gives authors both the freedom and the authority to engage, intervene in, critique, and transform the conceptual terrain they have inherited. Each entry, either implicitly or explicitly, attempts to re-open the question "What is political thinking?" Each is an effort to reinvent political writing. In this setting the political as such may be understood as a property, a field of interest, a dimension of human existence, a set of practices, or a kind of event. Political Concepts does not stand upon a decided concept of the political but returns in practice and in concern to the question "What is the political?" by submitting the question to a field of plural contention. The concepts collected in Political Concepts are "Arche" (Stathis Gourgouris), "Blood" (Gil Anidjar), "Colony" (Ann Laura Stoler), "Concept" (Adi Ophir), "Constituent Power" (Andreas Kalyvas), "Development" (Gayatri Spivak), "Exploitation" (Etienne Balibar), "Federation" (Jean Cohen), "Identity" (Akeel Bilgrami), "Rule of Law" (J. M. Bernstein), "Sexual Difference" (Joan Copjec), and "Translation" (Jacques Lezra)

Because of his preoccupation with the formal aspects of music and literature, Theodor W. Adorno is often regarded as the most aesthetically oriented thinker of the Frankfurt School theorists. It is Adorno's (mis)perceived commitment to aestheticism-the study of art for art's sake and the study of art as a source of sensuous pleasure, rather than as a vehicle for culturally constructed morality or meaning-that many scholars have criticized as hostile to genuine, concrete, substantive political, social, and ethical engagement with the arts.Adorno and Ethics-the first issue of New German Critique to be published by Duke University Press-takes issue with Adorno's critics. These essays reconsider Adorno's unique brand of aestheticism, revealing a "politics of aestheticism" and exploring the political and ethical dimensions of his writings. One contributor links the ethical turn taken in Adorno criticism with related developments in American poetry and poetics. Another examines Adorno's aphorism "Gold Assay" for the ways in which it anticipates one of his seminal works, The Jargon of Authenticity. Focusing on Auschwitz and the testimony of its survivors, one contributor explores the impact of the Holocaust on modern philosophy and reason, a relationship that he argues Adorno never specified. Another contributor considers the figure of the animal in the writings of Kant, Adorno, and Levinas, exploring what it might mean to live, as Adorno suggests, as "a good animal." Contributors. J. M. Bernstein, Detlev Claussen, Samir Gandesha, Alexander Garcia Duttmann, Christina Gerhardt, Martin Jay, Robert Kaufman, Michael Marder, Gerhard Richter