Search results

You are looking at 1 - 6 of 6 items for :

  • "Political manipulation" x
  • Philosophy and Critical Theory x
  • Refine by access: All content x
Clear All
Abstract only
Adorno, Theodor W. ‘Introduction to Prophets of Deceit’ (1949, previously unpublished)
Paul K. Jones

wield. The relative accidentalness and emptiness of the content of agitation, its complete subordination to manipulative purposes, is obvious. There are profound reasons for this conspicuous lack of content, above all the absence of a tradition of autochthonous and aggressive imperialist nationalism in America. Thus, American patterns of non-political manipulation – and especially certain marginal phenomena – had to be fused artificially with fascist notions of the Italian and German brand. One has to think of the barker who puts such high pressure

in Critical theory and demagogic populism
Paul K. Jones

tradition of autocthinous [ sic ] and aggressive imperialist nationalism in America. Thus, American patterns of non-political manipulation – and especially certain marginal phenomena – had to be fused artificially with fascist notions of the Italian and German brand. One has to think of the barker who puts such high pressure behind advertising that it approaches violence. Much has also been borrowed from fanatic religious revivalism – promoting an ecstasy which is relished as such and unrelated to any concrete content, while rigid, dogmatic stereotypes, as e.g. the

in Critical theory and demagogic populism
Anastasia Marinopoulou

authoritarian mechanisms and political manipulations largely coordinated by modern science. However, I raise two major objections to Foucault’s critique of structuralist practice and modern dialectics: (a) Practice exists within social structures, but the scientific or social subjects still need a theory. They need a certain theorizing, which safeguards that, in times of crises, practice is based on experience, but mostly has roots and is generated by their theoretical concerns and anxieties over what constitutes the rational. Lack of any form of normativity, which results

in Critical theory and epistemology
Abstract only
Anastasia Marinopoulou

societies; it is also the dialectical moment of negation, shaped by the a priori of consciousness. Critical realism reduces dialectics to a critique of the supposedly objective, and ignores the fact that even the objective is conceived a priori. Despite the initial declarations of loyalty to critical reason, such a view of knowledge and science leaves the door open to social engineering and political manipulation. By limiting dialectics within what is supposedly objective, critical realism abandons the critical perspective of the scientific borne by social agents, where

in Critical theory and epistemology
Abstract only
Peter J. Verovšek

merely the product of social and political manipulation that serves the needs of actors in the present. 31 By focusing on ruptures as turning points, I reject presentist readings of the politics of memory by outlining the preconditions that define the crucial moments when memories can be fundamentally reframed through the creation of new historical narratives. In opposing instrumental interpretations of collective memory that conceptualise the past as essentially malleable, I help to identify how and when ‘certain windows of opportunity’ open, allowing political and

in Memory and the future of Europe
Open Access (free)
Art as the ‘organ of philosophy’
Andrew Bowie

aesthetic spheres as precisely what enables the scientific, legal and artistic advances characteristic of modernity. Conflating validity claims from the different spheres leads in his view to the kind of irrationality characteristic of feudalism, which the Enlightenment justifiably sought to overcome. The spheres are also conflated in fascism, where criteria of public accountability become randomly decisionistic and aesthetic means are used in political manipulation. At the same time, as we saw in Chapter 2, Habermas is aware of a need to establish a more productive interplay

in Aesthetics and subjectivity