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Toward a New Materialist Semiotics:
Undoing the Dialectic's Philosophical Hypocrisy
MARKUS WEIDLER
University of Texas at Austin
lightenment for the West, as it has been generally considered, but in a rhetor-
ically reduced form, as a German affair,disregardingthe cultural complexities
and intertwinements of the actual Enlightenment project across geographic
and political boundaries.
I will make this case by examining in some detail H /A's baffling negli-
gence of Cassirer's work in the Dialectic, which is particularly noteworthy in
light of the latter's Philosophy of Symbolic Forms (1953-57) [1923-29]. In
the second volume in this series, Mythical Thought (1955) [1925], Cassirer
proffers a philosophical analysis of the phenomenon of myth2that is very par-
allel to that which also figures prominently in the Dialectic (most explicitly in:
"Excursus I").
In this sense, the present essay documents Cassirer's approachas a fruit-
ful but neglected ground for a possible German postwar intellectual identity
available at the time, one which has not been acknowledged, either as a his-
torical influence or as a decisive factor in Horkheimer's development. From
this perspective, H /A's calculated philosophical resignation will emerge as co-
inciding with Cassirer's neglected philosophical project in defining "the road
not taken"3in German postwar thought. That is, viewed in an optic that locates
Cassirer at the cross-roads of new philosophical orientations,4we can recog-
nize him as speaking in a different voice than postwar Western philosophers
assure.
This exercise has anything but diminished in urgency over the last ten
years or so. In the aftermathof the belated English translation of Habermas's
Strukturwandelder Offentlichkeit (1962; trans. 1989)5 there has been a re-
surgent interest in the notion of the "public sphere," concomitant with a re-
valuation of concepts such as "(communication) community," "lifeworld"6
or "form-of-life."7 Authors like Axel Honneth (1991), Nancy Fraser (1992;
1995), Seyla Benhabib (1992; 2002), Katherine Arens (1995; 1998), Julia
Kristeva (1986) and Richard Wolin (1992; 1995),8 to name just a few, have
been working at the intersection of political philosophy, social theory and cul-
ture critique to carve out a new form of discourse analysis that is able to ne-
gotiate the complexities of (post)modern societal life.9 This so-called "critical
discourse analysis"'0 harkensback to the analyses of power, language, and so-
cial practice introduced in the US most familiarly by Michel Foucault and
Pierre Bourdieu stressing how a culture's representations are used to enforce
hierarchies. This "movement," broadly conceived (not as a tight-knit "com-
munity" of researchers), has led to forays into a "new critical hermeneutics,""
which takes semiotic theory as central to any cultural critique. Across the
range of these "intersectional writings," the treatment of signs, signifying
practices, and symbolic orders becomes an integral part of their analyses, gen-
erally subsumed under the rubric discursive creation of (social) meaning(s).
Yet while H/A's Dialectic of Enlightenment is often judged as too lim-
ited a cultural critique,'2 they are still widely accepted as the pioneers, or at
390 Markus Weidler
Thus H/A use Nietzsche to claim and radicalize their own position of
more outsider or radical critics, who arejust as cynical about postwar Europe,
or "inimical to the spirit of reality" (101) as Kant or even de Sade had been in
the era of the French revolution. At the same time, however, they distance
themselves from Nietzsche (and from his abuse in the Nazi superman) by pre-
senting him as an antecedent of proto-fascist thought because of his participa-
tion in the Enlightenment, a decisively past plane of criticism. This link is
spelled out, as they speak of "Nietzsche's ashamedly unashamed magnanim-
ity which would go to any extreme to save the suffering from humiliation: cru-
elty as greatness, when imagined in play or fancy, deals as harshly with men
as German fascism does in reality" (113).
That outsider, critical, and post-World-War-IIposition that H/A are at
pains to claim is substantiatedin their furtherreferences to the history of phi-
losophy. It is crucial to note that the history of German philosophy that they
obscure in drawing their own line of descent is not the Idealism and Enlight-
enment with which we are familiar today in the Anglo-American sphere, but
a different contemporaneousreading of the history of Germanphilosophy, one
that will allow us to link H/A's project directly to Cassirer,'8as I will take up
below. For the present purposes, it suffices to introduce F.W.J.Schelling as
"the man behind the scenes" in that history of philosophy-one of the crucial
background figures in that distinctly German history of critical idealism in
the nineteenth century, influencing the Dialectic's own strategy of cultural cri-
tique, but almost unnamed in it, as it is to subsequent scholars following the
FrankfurtSchool.
In an account of the historical genesis of critical theory more familiar to
German readers of their day, the strategy of critical dialectic is anticipated in
the work of the Young Hegelians.'9 Thus H/A begin by referring to Hegel's
Phenomenology of Spirit early on20 and keep returning to it throughout the
first section of the book, "The Concept of Enlightenment."But their omissions
from the history of subsequent nineteenth-century Young Hegelianism are
telling. Schelling, for instance, is mentioned only once, in the context of the
work of art and its aura (19).21After that he is never referredto again. Yet how
H/A introduce Schelling reveals how they borrow from that tradition of cul-
tural criticism, since they acknowledge him as one of the representativesof a
philosophy, which
allowsit [art]precedenceto conceptualknowledge.Accordingto Schelling,art
comes intoplaywhereknowledgeforsakesmankind.[...] The bourgeoisworld
was butrarelyopento suchconfidencein art.Whereit restrictedknowledge,it
usuallydid so not for the sake of art,but in orderto makeroomfor faith.(19)
Die Philosophieist dadurchzuweilenbewogenworden,ihr[derKunst]denVor-
rang vor der begrifflichenErkenntniszuzusprechen.Nach Schellingsetzt die
Kunstda ein, wo das Wissendie Menschenim Stich lhsst.[...] SolchemVer-
trauenin Kunstwardie btirgerlicheWelt nurselten offen. Wo sie das Wissen
Undoing the Dialectic's Philosophical Hypocrisy 393
ferent "motive[s]" (II, 237), "telos,"33or "original impulse" (III, 142) of each
form. Knowledge is an interested appropriationof facts of existence, directing
action. That is, each symbolic form is grounded in a specific spiritual "atti-
tude" (II, 239; III, 151) or "interest of cognition" (III, 60), with which it con-
fronts the continuum of our experience and provides a tool that allows us to
make sense of it:
In scientificanalysisthe roadruns from the "thing"to the "condition,"from
"substantial"to "functional"intuition;[. ..] (II, 53-54)
The morecognitionadvances,the moreit limitsitself to inquiringinto the pure
how of change, i.e., into its necessaryform; myth, on the contrary,inquires
solely into its what, whence, and whither,and it insists on seeing both the
whence and the whitherin the form of determinatethings. [emphasesadded]
While [scientific]conceptualthoughtsplits a continuousseries of events into
causes and effects and is thus orientedessentiallytowardthe mode, the con-
stancy,theruleof the change,the mythicalneedof explanationis satisfiedif the
beginningandend of the processareclearlydifferentiated.(II, 54)
Accordingly, the different goals of inquiry or "direction[s] of analysis" (II, 50)
promoted by the different symbolic forms correspond to different needs of ex-
planation. These different modes of inquiry issue different "spiritual dimen-
sion[s]" (II, 239) for each symbolic system of knowledge production regard-
ing their different causalities, spatialities, and temporalities.
Myth and science (and other symbolic forms, or knowledge-producing
systems), to be sure, have different attitudes toward the meaning of change.
Through its focus on the particular in the "here and now" (II, 48), in conse-
quence, myth "hypostatiz[es]"34all processes into substantial entities and un-
derstands change mainly in terms of "metamorphosis"35where one concrete
form morphs into another without complete (ontological) separation (of sub-
stance). The scientific mind set, on the other hand, tends to dissolve processes
into pure relations thus emphasizing the relations themselves over the terms
related.36From this perspective we see that the different orientations toward
change issue different causalities, which are locked into different spatialities
and temporalities:
Whenscientificthinkingconsidersthe fact of change,it is not essentiallycon-
cernedwith the transformation of a single giventhinginto another;on the con-
trary,it regardsthis transformation as possibleandadmissibleonly insofaras a
universallaw is expressedin it [. . .] Mythical"metamorphosis,"on the other
hand,is alwaysthe recordof an individualevent-a changefromone individ-
ual andconcretematerialformto another.(II, 46 - 47)
While scientificthoughtseeks to dissolve all realityinto relationsand under-
standit throughthem,mythicalthinkinganswersthe questionof originsby re-
ducingeven intricatecomplexrelations- suchas musicalrhythmsor the orga-
nizationof thecastes-to a pre-existingmaterialsubstance.Andbecauseof this
Undoing the Dialectic's Philosophical Hypocrisy 397
of myth and religion and to tap their symbolic resources for the purposes of
cultural politics we must pay close attention "to the special conditions of life
under which the particularconcrete community stands and develops; but this
does not prevent us from recognizing that here again certain universal spiritual
motifs of formation are at work" (II, 178).
serves the purpose of relaxation and distraction and so becomes a mere "after
image" of the work process:
Amusementunderlate capitalismis the prolongationof work.It is soughtafter
as an escapefromthe mechanizedworkprocess,andto recruitstrengthin order
to be ableto cope with it again.[...] Pleasurehardensintoboredombecause,if
it is to remainpleasure,it must not demandany effort [.. .] No independent
thinkingmustbe expectedfromthe audience[. . .] (137)
Art is reduced to a symbol and enters into a vicious circle where the monoto-
nous stress of the assembly line is balanced by the monotonous numbness in
front of the TV or cinema screen. Concomitantly, myth turns into black magic,
deadly industrial society. Consequently the common distinction between
"light art" and "serious art" (135) does not reflect a contrast in quality or ar-
tistic sophistication but in social function-whether art produces knowledge
as German classicists from the age of Idealism would know immediately.
Viewed in their social functioning, light art is a "mental downer" or sedative,
whereas serious art is a "mental upper" or stimulant. Each form is evaluated
by bourgeois utility thinking not in terms of artistic content but in terms of
their respective effect on, and correlation to, the stress factor inherent in the
work process. In both analyses, art is debased to "rationalized"amusement by
the culture industry.
However, as becomes clear from the further course of H/A's analysis,
such interpretationwould still fail to capture the actual "totality of the culture
industry."H/A see no value in a symbol system that binds a community. Art
is art outside the community, myth is a sacred space outside community
knowledge. At a second level, the intellectualization of art actually marks the
final threatby the bourgeois mindset. The culture industry turns art into an in-
tellectual fetish, a fetish of "deadexpert knowledge," not a symbol system that
produces different forms of knowledge.
Here H/A's critique comes full circle. Bourgeois intellectual fetishism
ultimately works like institutionalized religion: aesthetics rises as an aca-
demic discipline and field of professional occupation, allying with social types
such as the art critic and the "prestige seeker [who] replaces the connoisseur"
(158). Even "[p]ure works of art which deny the commodity society by the
very fact that they obey their own law were always wares all the same" (157).
In other words, in its very attempt to block itself off from the bourgeois
efficiency calculus, art becomes no less law-like, disciplinary, and thus "sci-
entific," as it achieves full semiotic potential in society.
The workof art,by completelyassimilatingitself to need, deceitfullydeprives
men of preciselythatliberationfrom theprincipleof utilitywhichit shouldin-
augurate.[. . .] The commodityfunctionof artdisappearsonly to be whollyre-
alizedwhenartbecomesa speciesof commodityinstead,marketableandinter-
changeablelike an industrialproduct.(158) [emphasisadded]
Undoing the Dialectic's Philosophical Hypocrisy 401
RadicalTheology.ForHeidegger'sBrief,see:MartinHeidegger,"BriefuiberdenHumanismus."
Wegmarken. 3., durchgesehene Auflage.(Frankfurt amMain:VittorioKlostermann,1996)313-
64. Forthe translationof the latter,see: MartinHeidegger,"Letteron Humanism."
Trans.Frank
A. Capuzziand Glenn Grey.Basic Writings.2nded. Ed. David F. Krell. (New York:Harper
Collins, 1993)217-65.
'5Thisclaimfromthe 1969prefacehasbeencontested,e.g., by GiinterC. Behrmann.His
essay "DieTheorie,das Institut,die Zeitschriftunddas Buch:ZurPublikations-undWirkungs-
geschichtederKritischenTheorie1945bis 1965"marksthetenthchapterin: ClemensAlbrecht,
GiinterC. Behrmann,MichaelBock,HaraldHomann,FriedrichH. Tennbruck. Die intellektuelle
Griindung der Bundesrepublik. Eine Wirkungsgeschichte der FrankfurterSchule. (Frankfurtam
Main:Campus,1999)247-311.
16Inthis place I correctedJohnCumming'stranslationof the Germanadjectivedunkel
whichmeans"dark"or "obscure"ratherthan"black."
17Hereandin the following,the page numbersof the Germanquotationsfromthe Dia-
lektik refer to: Max Horkheimer and Theodor W. Adorno, Dialektik derAufkliirung. Philosophi-
sche Fragmente.Ed. Rolf Tiedemann.(Frankfurt
am Main:Suhrkamp,1981) [1944]. (Theodor
W. Adorno, Gesammelte Schriften. Bd. 3).
the Prefaceto: Cassirer,MythicalThoughtxiii-xviii. Cassireris moreoutspoken
s18Cf.
abouthis sourcesand openlyacknowledgesthe relevanceof Schelling(andHegel) rightfrom
the start.
19Fora good shortsynopsis,see the introductionto: LawrenceS. Stepelvich,ed., The
YoungHegelians.AnAnthology.(Cambridge,NY:CambridgeUP,1983).See also:KarlLiwith,
From Hegel to Nietzsche. The Revolution in Nineteenth-Century Thought. Trans. David E.
Green.(New York:ColumbiaUP, 1991)53-135. Cf. also thecomprehensive sociologicalanaly-
sis of the YoungHegelians'overallprofileandinternaldynamicsas an "intellectualgroup"in:
Wolfgang EI3bach,Die Junghegelianer. Soziologie einer Intellektuellengruppe. (Mtinchen: Wil-
helm Fink, 1988).
20Forthe firsttime theydo so in relationto the followingremark:"Everyspiritualresis-
tanceit [theEnlightenment] encountersservesmerelyto increaseits strength.Whichmeansthat
enlightenmentstill recognizesitself even in myths"(6).Afterthe firstsentence,footnote5 is in-
serted: "Cf. Hegel, Phinomenologie des Geistes (The Phenomenology ofSpirit), Werke, Vol. II,
pp. 410ff."
21As yet anothersurprisingomission, no referenceis made to Benjamin'sessay "The
Workof Artin theAge of MechanicalReproduction" (1936),whichdealtwiththenotionof aura
as one of its key themes.Perhapsmostblatantin thisregardis H/A's speakingof the "angelwith
the fiery swordwho drovemanout of paradiseandonto the pathof technicalprogress"(180),
as the counter-imageto Benjamin's"angelof history"(afterPaul Klee's painting"Angelus
Novus").The latteris put forthin Thesis IX of the Theseson the Philosophyof History,in:
Walter Benjamin, Illuminations. Essays and Reflections. Ed. Hannah Arendt, trans. Harry Zohn.
(New York:Schocken,1969)253-264.
22See:H/A's footnote23 andfootnote24, Dialectic 19.
Section Three"Elementsof Anti-Semitism,"subsectionIV: "Anti-
23 See particularly,
Semitismis all thatthe GermanChristianshaveretainedof the religionof love"(176).
24My presentnotionof Hegelianandpost-HegelianChristologyis drawnfromthe clas-
sical study: Hans Kiing, The Incarnation Of God. An Introduction to Hegel's Thought as Prole-
gomenato a FutureChristology.Trans.J.R.Stephenson(Edinburgh: T&TClark,1987).Forthe
Hegel-Schellingconnectionin this context,see especiallythe fourthchapter:"Thusthe trans-
formationof thetheologianintothephilosopher,whichwas broughtaboutby Hegel'sentryinto
a new intellectualworldandby his associationwith Schelling,is simplya fact. However,the
comparisonof the JenaDifferencewith the Frankfurtwritingsdemonstratesthatit is equallya
factthatHegelremainedthe sameamidstthe change[. . .]. A deepcontinuitylies hiddenbeneath
all the changebetweenFrankfurtand Jena"(150). "Nowhereis the continuedpresenceof a
Christianpast in Hegel more plainly manifestedthan in the questionof Christology"(162).
"Readersof Hegel'sPhenomenologyeasilyforgethis indebtednessnotonly to Fichtebutalso to
Schelling [. . .]. Only if we refrain from the long-standing customary habit [. .] of unwarrantably
devaluingSchellinganddegradinghimto the level of forerunner
of the messiah,do we havethe
right(whichwe intendto exercisethroughoutthis whole book)to showhow Hegel alwayscon-
tinuedto ploughhis own furrow"(154).
Undoing the Dialectic's Philosophical Hypocrisy 407