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within Marxism, then or later. On the contrary, the record of their relations has been a complex, tense and uneven one, riven by multiple breaks, displacements and deadlocks. If no complete rupture has ever occurred, since the days more or less of Mehring, it is doubtless due to the fact that beyond their common critical starting-point, there has always been an ultimate historical line of flight along the horizon of each. It is not entirely fortuitous, then, that the contemporary locution ‘critical theory’ should have two dominant connotations: on the one hand a generalized body of theory about literature, on the other a particular corpus of theory about society descending from Marx. It is the latter that customarily acquires capitals, a shift into upper case essentially effected by the Frankfurt School in the 1930s. Horkheimer, who codified this sense in 1937, intended to recover with it the sharp philosophical edge of Marx’s materialism, unduly blunted — as his generation saw it — by the heritage of the Second International. Politically, Horkheimer declared, the ‘only concern’ of the critical theorist was to ‘accelerate a development that should lead to a society without exploitation’.1 Intellectually, however, he sought – in Adorno’s later words – ‘to make men theoretically conscious of what it is that distinguishes materialism’.2 The main thrust of the Frankfurt School’s interventions over the years lay in just this direction — a long and passionate critical elucidation of the bequests and contradictions of classical philosophy and its contemporary successors, one which led increasingly, over the years, towards the domains of literature and art in the work of Adorno or Marcuse, each of whom brought their careers to rest in the realm of aesthetics. Still, to define Marxism as a critical theory simply in terms of the goal of a classless society, or the procedures of a consciously materialist philosophy, is obviously insufficient. The real propriety of the term for Marxism lies elsewhere.

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