Reviewed by: Michael Maidan (Independent Scholar)
Martin Jay is a distinguished cultural historian, a pioneer of the study of the Critical Theory of the “Frankfurt School” with his book Dialectic of Enlightenment (1973), and a scholar who wrote on different aspects of Critical Theory, on the concept of totality, and on the problematization of vision in modern French thought. Splinters in Your Eye, his most recent book, is made out of eleven essays, most if not all already published in some form. They explore aspects of the work of the Frankfurt School’s main theorists, paying attention to the inner tensions and the wirkungsgeschichte of the theses formulated by Horkheimer and his band of merry theorists.
In an essay published in a previous book, Jay defended the honor of the kind of intellectual history that he displays in the book. Two aspects of his defense are relevant in this context. Jay calls himself a “synoptic intellectual historian,” namely, one that believes that “it seemed a sufficiently challenging task merely to reconstruct the demandingly difficult arguments of the Frankfurt School and relate them to some issues about the life histories of its members.” Synoptic cultural history came in recent years under attack because it abridges and reduces a complicated, heterogeneous mass to an abstract, homogenous form. (Jay, Two Cheers for Paraphrase, 52). This synopsis excludes normatively and hierarchically everything outside of a homogenized and consistent paraphrastic account. The observation that this kind of account may be a disservice for some texts is particularly acute when the subject matter is itself suspicious of premature totalization, as it is the case in Adorno’s thought. To face this challenge, Jay assures us that “by turning it on Adorno’s intellectual production and isolating what I saw as the five main forces in his own field or starts in his constellation—Western Marxism, aesthetic modernism, mandarin cultural despair, Jewish theology and … proto-deconstructionism—I attempted … a methodological or formal paraphrase of his work in order to illuminate its substantive tension (op. cit., 61-2). So, paraphrase and synoptic approach can be gentle enough to respect the nature of its subject-matter without incurring in mimetic repetition. In the introduction to Splinters in Your Eye, Jay returns to this problem, using Adorno’s aphorism “the splinter in your eye is the best magnifying glass” (Adorno, Minima Moralia, 50). The splinter or the mote in question is an imaginative interpretation of the verse “why beholdest thou of the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye?”. This injunction is usually interpreted as a caution not to be judgmental. The “mote” is here converted, through the vicissitudes of translation, into a splinter. And the eye’s irritation, into a glimpse of truth (Jay, Splinters, xi). It is through suffering, vicarious, or our own, that knowledge of society is possible, Adorno claims. In the same section, Adorno also refers positively to exaggeration. Jay will use this idea for the title of an essay on the Frankfurt School’s position regarding psychoanalysis. Jay also refers to the provocative sentence that closes the section: “The whole is the false” (Minima Moralia, 50). But if the whole is the false, what about critical theory? Adorno’s claim questions any attempt to bring the ideas of the different personalities involved in the Frankfurt School into a harmonic whole. Jay expounds further on the nature of the painful eye that it will avoid the illusion of a “panoptic vision.” This concept that Foucault borrowed from Jeremy Bentham’s speculations on a system of inescapable omniscient social control is the clearest counter-ideal to Critical Theory. It is in recognition of the appropriateness of the fragmentary that Jay writes: “the exercises that follow are left in their unintegrated form, with no pretense to be a coherent narrative” (xvi).
What is a reviewer to do? To compound the fragmentations (from the subject-matter, the fragmentation of the intellectual historical account)? Or to try to suggest a synthesis that was already twice refused? Sometimes problems are best perceived by turning them around. In this case, by turning our gaze to a different approach, one which as hostile to Critical Theory as Jay’s is caring.
The last essay, “Dialectic of Counter-Enlightenment,” places us on a different plane. In this chapter, Jay deals with a fringe movement whose members have made of the Frankfurt School, a scapegoat for the illnesses and rottenness of contemporary society. With a twist. Because what they perceive as negative is what many will call the positive signs of reparation of long due injustices: the fight against racism, against discrimination on the base of gender and sexual orientation, the inequality of opportunities for minorities of all kinds (see a complete list in p. 157). This is more than ironic. As Jay comments in another essay, the Frankfurt School has been ofttimes criticized for its ineffectualness, for its failure to become practically engaged with mass social movements, for the lofty tone of its pronouncements, etc. These critics make the opposite claim.
Against the claim that castigates the Frankfurt School for its presumed role in the development of a counterculture which rejected and supposedly replaced the traditional American culture of the 40s and 50s, first in academia, then in the media and cultural industries, and finally in society as a whole, the historian can proceed in two ways. The first will be to show that, maybe except Marcuse, the influence of the Frankfurt School in American academia and popular culture was, to say the least, limited. The different “critical studies” and what is called in the humanities and social sciences “theory” borrows much more from French post-structuralist thinkers, and indirectly from Husserl, Heidegger, and Nietzsche than from Adorno and Horkheimer (Cusset, 2003).
Instead of following this road, Jay takes advantage of the opportunity to turn his regard into this distorted account in the hope that “something [be] revealed about the legacy of the Critical Theory—and, more importantly, about the current society that can turn it into a simplistic meme—” (161), a meme that under certain circumstances can turn deadly. Jay refers here to the manifest written by the Norwegian neofascist Anders Behring Breivik before engaging in a terrorist attack that left 77 dead. Breivik, among other arguments to justify his acts, ranted against the influence of Cultural Marxism, referring even to Jay’s Dialectics of Enlightenment as proof for his claims. Jay goes further to write that the situation calls for the kind of dialectical account that Adorno and Horkheimer devoted to the Enlightenment itself (166). If Jay does not offer us such an account, he lists references to different claims that distort and twist the legacy of the Frankfurt School. But he recognizes that to develop a critical theory of counter-enlightenment is beyond the scope of a single essay (167). Jay mentions a few attempts to apply the methodology devised by the Frankfurt School for their study of Authoritarian Personality (1950) to the current situation in the USA (168-9) but seems to have doubts on the merits of that methodology. Quoting a remark from Harvard’s historian Peter E. Gordon, he wonders about the appropriateness to assign individuals to personality types, as this mimics the reification of contemporary society (169). Maybe what this shows is that the Frankfurt School has many historians, but few disciples willing to follow in their path. Only Habermas stands out as a continuation of sorts of the heritage of the Institute.
Was this fate foreshadowed in the early beginnings of the School? Jay explores this question in the first two essays in the book. “Ungrounded” deals with the foundation of the Frankfurt’s Institute for Social Research (ISR), which through the particular circumstances of its origins and independence from party or government, gives rise to the accusation of being suspended in an abyss (Abgrund). Jay refers here to Georg Lukács, the Hungarian Marxist literature scholar and philosopher whose 1922 History and Class Consciousness influenced the group of young scholars that ultimately created the ISR, that gave origin to the Frankfurt School. Lukács, as an orthodox Marxist, rejected the idea of a critical stance that is not anchored in a political party, which is itself the conscious will and vanguard of the working class. Instead of a privileged vantage point, Horkheimer and his comrades preferred a sort of “immanent critique,” which Jay describes quoting from one of Adorno’s translators: “immanent criticism turns the principle of identity…into the power for the presentation of the way in which an object resists its subjective determination and finds itself lacking” (4). Jay raises two potential objections to this approach. The first recasts Adorno’s objection that immanent critique cannot be fully grounded on itself as “the totality is never fully self-contained.” The second objection has to do with what Marcuse called “one-dimensionality” and Adorno “totally administered” society. In such a society, apparent dissatisfaction becomes functionalized in the service of the status quo. Despite such doubts on the actual possibility of a critical regard into the society that is not immediately instrumentalized, the members of the School continued to elaborate their positions. What are, Jay wonders, the motivations for such an undertaking? Maybe, he wonders, that motivation reflects the particular circumstances of the establishment of the ISR?
Jay embarks in the already well-known stories of Felix Weil’s role as founder and financial benefactor of the Institute, and Horkheimer’s appointment as Director of the Institute. Toward the end of the essay, Jay turns to explore the possible debts of Critical Theory to the philosophy of Schelling (11). In particular, to Schelling’s early thinking. Horkheimer wrote on Schelling and Idealism in the 1920s, and also Adorno has a substantive debt to his thought (15). Jay observes that “Schelling’s critique of rationalist metaphysics was attractive to thinkers trying to extricate themselves from…[a] philosophy in which all contingency was absorbed into a relational system” (13). Others have observed that Schelling’s philosophy seems to anticipate the Dialectic of Enlightenment (15). And Adorno in Negative Dialectics quotes approvingly Schelling as an antidote to a rationalistic consciousness philosophy. These considerations led Jay to affirm that the uncertainty of “Abgrund” (groundlessness) may be less damaging to critical theory and to emancipatory practice than one may initially suspect.
In “The hope that earthly horror does not possess the last word,” Jay reminisces on his early contacts with the leading members of the ISR during the research that led to his writing Dialectical Imagination. Three points can be highlighted in this essay. First, the degree to which the members of the Frankfurt School wanted to shape Jay’s narrative. Second, the different perspectives of the individual members. Finally, Jay’s interpretation of the feelings of the founders of the ISR about their Jewish origins, and about the influence of their background in the outlook and the public perception of the Institute. One of many, the anecdote regarding the title of Jay’s book, is telling. Jay suggested the title “Permanent Exiles” (28-9). Horkheimer and Weil criticized the title as not only unprecise but also dangerous because it lends justification to their many foes from the right.
The next chapter, “Max Horkheimer and the Family of Man,” explores the balancing act of Horkheimer’s and Adorno’s return to Germany. Horkheimer understood their public role as “reeducator of Germans, especially Youth, in the democratic values he had learned in exile” (35). This understanding, and the realities of the Cold War, led to de-emphasize the earlier, more radical approach to contemporary society. Jay exemplifies this with a close reading of Horkheimer’s talk at the opening in 1958 of the photography exhibits “The Family of Man” in the US-funded Amerika-Haus in Frankfurt. Jay emphasizes Horkheimer’s references to Kant, Emerson, and Dewey and their firm belief that man should count as an end and never as a means (36).
Further, Horkheimer characterizes the exhibit as “representative of all the forces that are now counteracting the…regressive movements that have occurred in Europe in recent years” (36). Jay notes the distance between the endorsement of the humanistic agenda of the exhibits and Horkheimer’s previous pronouncements in his writings of the late ’40s. Also, Jay finds puzzling Horkheimer’s valorization of the power of images to give unmediated access to abstract philosophical concepts. After his return to Germany, Horkheimer increasingly endorsed the Bilderverbot, the biblical prohibition of images, which constitutes a central component of the Jewish faith (also to be analyzed in an essay comparing Adorno’s and Blumenberg’s position).
“Family of Man” approached the family at two levels. On the one hand, it showed pictures of couples and happy families from different cultures. On the other, it implied that humanity should be seen as one big family. Jay deals with both levels and compares the underlying presuppositions of the exhibit with Horkheimer’s and Frankfurt Schools’ analysis of the family. Jay also confronts Horkheimer’s remarks with Roland Barthes’ criticism of the exhibit. Jay sees the differences in approach mainly as a reflection of a difference in context. Barthes was reacting against the danger of abstract universalism, whereas Horkheimer was dealing cautiously with the heavy heritage of Nazism and the war (45).
The “marriage” between Freud and Marx is the subject of the fourth essay. The relationship of the Frankfurt School to Freud and psychoanalysis was complicated and not limited to the realm of theory. Horkheimer helped create a psychoanalytic institute in the University of Frankfurt and even invited it to share space in the ISR’s newly built building on the university campus. Horkheimer also lobbied the city of Frankfurt to give Freud the Goethe Prize in 1930. Even a few members of the ISR, including Horkheimer, underwent analysis.
Jay states four overlapping motivations that presided this matrimony. First, the hope that psychoanalysis may answer why orthodox Marxism, despite the widespread discontent with the status quo, failed in the 1920s’ Germany to generate a revolutionary practice. Second, to explain the emergence of Fascism, a social movement that traditional Marxism did not foresee. Third, in the case of Marcuse in particular, Freudism was expected to be a way to envisage a different civilization, beyond the one-dimensional one. Lastly, in the case of Adorno and of Horkheimer, to build a plausible materialism. But, except for Fromm, their interest in Freud stayed mostly limited to his philosophical anthropology, and the members of the ISR remained indifferent to psychoanalysis as a therapy (53).
Jay surveys the different receptions of Freud in the Institute, from Fromm’s attempts to a build a social psychology which could be empirically verified and a tool to explore socio-political events, Adorno’s integration of Freudian insights into his analysis of the “culture industry” via de concept of fetishism, and Marcuse’s most explicit use of Freud for utopian purposes in Eros and Civilization (1955) (60). In his work, and in the magazine Dissent, Marcuse attacked Fromm’s humanistic version of Marxism and his dismissal of Freud’s Metapsychology and instincts theory. Jay quotes Marcuse’s re-interpretation of Oedipal longings as archetypical of freedom from want, and his rejection of its surplus repression in the name of the reality principle. Jay’s assessment that Fromm “never recuperated” from Marcuse’s onslaught in Dissent seems a bit extreme. Not only Fromm had a successful and long carrier, not only Marcuse’s name only become widely known after the 1968 student’s revolt, but Marcuse contributed a chapter to Fromm’s 1965 edited collection Socialist Humanism, indicating some level of agreement between the two.
Jay’s use of the metaphor of marriage to describe the attempts to bring to a synthesis Freud’s theory with Marxism or parts thereof also allows us to think a less blissful relationship, at least in Adorno’s late work (63). Adorno was skeptical of a full reconciliation between the social and the psychological, and between the cultural and the natural. He writes in his characteristic fashion: “The separation of Sociology and Psychology is both correct and false…correct insofar as it registers more intransigently the split that has actually taken place in reality than does the premature unification at the level of theory” (Sociology and Psychology, quoted by Jay, 64). The rejection of the premature unification of the social and the individual is supposed to prefigure a potential emancipatory outcome. He concludes this essay referring to Horkheimer’s work in post-WWII Germany to reintroduce the teaching of psychoanalysis and to renew the association of the ISR.
The fifth essay tells an enthralling story about the young Leo Löwenthal and his participation in the “Jewish renewal movement” in the 1920s. Löwenthal was very close to Rabbi Nobel, the charismatic rabbi that played a central role in developing the Freie Jüdische Lehrhaus. Jay discusses Nobel’s contradictions and how these allowed Nobel to be a magnet for highly educated and conflicted youth living through the turmoil of the first years of the Weimar Republic. Nobel had a refined German education, was an orthodox rabbi, a friend of the leading Jewish intellectuals of his time, and a gifted speaker. Additionally, he helped Löwenthal financially during a bout of conflict between Löwenthal and his family. Jay examines Lowenthal’s “Jewish writings,” which consists of an essay published in Nobel’s Festschrift (“The Demonic: Draft of a Negative Philosophy of Religion”) and a series of short articles on leading Jewish thinkers of modern times (Mendelsohn, Maimon, Heine, Marx, Lassalle, Herman Cohen, and Freud). But, as Jay notes, Lowenthal’s energies were soon directed elsewhere (74). While there may be several reasons for this change of heart, the fact remains that Löwenthal’s interest in Jewish subjects faded, although maybe not entirely, as he republished his early essay on Heine in a 1947 issue of the magazine Commentary.
The sixth essay sets up a dialogue between Adorno and Blumenberg around the notion of “non-conceptuality.” There are similarities between Adorno’s position in Negative Dialectics and Blumenberg’s criticism of the privileged role of concepts in philosophy. According to Jay, Blumenberg seems to have acknowledged his debt to Adorno. So, for example, Blumenberg gave a seminar on Negative Dialectics a year after its publication. While no transcripts from the workshop survived, the fact itself is meaningful. Blumenberg used the notion of “non-conceptuality” in his writings of 1970, in what Jay considers a salute to Adorno. Jay speaks of an “overlap” between the intentions of both thinkers to present an alternative to philosophy’s traditional preference for conceptualization (84). Adorno and Blumenberg were both critical of Heidegger in general and of Heidegger’s attempt to offer a solution to the tension between conceptualization and content in particular. The title of the essay refers to the biblical Bildersverbot (prohibition of images), a common trope for a residual Jewish sensibility. Both Adorno and Blumenberg were of Jewish descent. Adorno’s father was Jewish, and so was Blumenberg’s mother. In the context of the Frankfurt School, the “ban on images” metaphor was used in two primary contexts. One, a refusal to engage in utopian speculation about an emancipated future society. The second, an affirmation of the irrepresentability of the Holocaust, as in Adorno’s ban on poetry after the Holocaust (90). Non-withstanding those similarities between the two thinkers, Adorno’s position is very different from Blumenberg’s. As Jay shows it nicely, for Adorno, the non-conceptuality was historically bound, and a claim to redemption to be fulfilled in a different society. He quotes Adorno on Identity:
“To define identity as the correspondence of the thing-in-itself to its concept is hubris; but the ideal of identity must not be simply discarded … hidden in [the supposition of identity] is also the truth moment of ideology, the pledge that there should be no contradiction, no antagonism” (Adorno, Negative Dialectics, 149, quoted by Jay, 93).
Visual arts played no significant role in the work of the members of the Frankfurt School. Benjamin was the exception, and he was interested, among other things, in the “emancipation of color” in modern art. “Chromophilia: Der Blue Ritter, Walter Benjamin and the Emancipation of Color” brings together Jay’s interest in the history of visual arts in the early 20th century and his study of the Frankfurt School.
Using unpublished fragments from 1914-15, Jay presents Benjamin’s long-life interest in the color revolution. One opposes a child’s to an adult’s view of color. For the child, color is contour, but the adult sees objects only, abstracted from color fragment. Benjamin was, according to Jay, fascinated by the Blaue Ritter color experiments. In another fragment, Benjamin writes about the rainbow in contrast with graphic images, which with line and figure, separate the endless configuration of color. Jay brings closer Benjamin’s reflection on color and his ideas about an Adamic language. WW I, which saw the death of two of the central figures of Der Blaue Reiter group, seem to have affected Benjamin’s hopes that the emancipation of color would foreshadow human freedom (111-12). In a following article devoted to Benjamin’s comments on stamps, Jay explores his own experiences in philately and its utopian dimensions.
The ninth essay expounds on the German American film theorist Miriam Hansen, the author of Cinema and Experience (2012). This one is the only essay in the book that deals with a thinker belonging to the younger generation of critical theorists.
As Jay puts it, Hansen’s problem is to develop a critical account of the film that goes beyond the blunt dismissal of the cultural industry characteristic of the first generation of critical theorists (including Krakauer). Hansen incorporated to her analysis the notion of a “counter-public sphere” in which technologically mediated distanced forms of interaction prevail. This notion elaborates on the ideas of Alexander Kluge and Oscar Negt (both associated with the Frankfurt School and with Habermas in particular) (125-6). Hansen also rescues from the early Frankfurt theorist the idea of mimetic comportment and the ideal of the “renewal of experience” (126). Hansen claims, according to Jay, for the existence of an alternative public sphere that can only realize itself through the destruction of the dominant, bourgeois public sphere. Jay is somewhat skeptical about the possibilities of such an alternative. Hansen showed an alternative public sphere realized through cinema only for a limited period, which corresponds to the early silent cinema. Furthermore, Jay defends the rights of the public sphere in its Habermasian sense, as a place of rational discussion, even as an ideal for democracy (134). Paradoxically, the criticism of purposive rationality cannot make room for the straightforward enjoyment provided by imaginative identification.
Based on a paper presented at a Brandeis conference to commemorate the 50th anniversary of Marcuse’s One-dimensional Man, Jay explores the different ways in which this famous book can be said to be “ironic.” First, there is the irony that this pessimist analysis of contemporary society, which forecloses all possibility of a challenge to the encroachments of instrumental rationality, is published at the very same moment when new avenues of resistance are opened. That consideration leads to a review of the analysis of irony in Adorno, and eventually to the question in what sense the argument in One-dimensional Man is itself ironic. In Minima Moralia, Adorno seems to deny that irony is still possible. Irony for Adorno “convicts its object by presenting it at what it purports to be” (quoted by Jay, 138). But, in our advanced industrial societies, “Irony’s medium, the difference between ideology and reality, has disappeared” (quoted by Jay, 139). But, is this also Marcuse’s position? Jay probes different types of irony, with the object, ultimately, of examining if there is, in One-dimensional Man, a “more promising notion of irony” that avoids the flaws of the ones Jay already reviewed. Jay will look for an alternative in a notion of irony described by Christoph Menke, a member of the third generation of the School. Discussing Oedipus Rex, Menke makes a difference between the “irony of the action” and the “the poets’ irony.” The first refers to the character Oedipus’ blind responsibility for his fate. The second, which we share as spectators, is our knowledge of the situation and our capability to foresee the outcome. Both irony positions are unified in Oedipus at the end of the play.
How are these insights important to evaluating Marcuse’s reflections on advanced capitalist society in a context which is quite different from the one we live today? Taking stock of Marcuse’s work would require identifying what is living and what is dead. Marcuse himself, at the end of his book, offered a gloomy picture of, on the one hand, a critical theory unable to provide a bridge between the present and its future, and the other, the wretched of the earth, free of the encumbrance of theory but driven forward by their despair. Critical Theory need to remain solidary of those without hope, advises Marcuse, even though the system may be strong enough to defuse any confrontation: “The economic and technical capabilities of the established societies are sufficiently vast to allow for adjustments and concessions to the underdog.” On his side, Jay concludes, “we can still find in…[Marcuse’s] insistence on the superiority of a two-dimensional understanding of the human condition over its one-dimensional alternative something akin to … [a] committed pursuit of personal excellence … an ironic attitude that is neither cynical nor disengaged, … [that] resists accommodation to social pretense … It may not provide the reassurance of Socratic or dramatic irony at its most knowing, but in a world that will not grant us such knowledge, it keeps alive the negative power of two-dimensionality that Marcuse so eloquently defended.” (150)
Jay’s book carries the subtitle “Frankfurt School provocations,” asserting the longevity of the program of the early critical theory. The attacks of the ultra-conservative factions add some credence to the luster of the ISR, and the blossoming of a third and fourth generation of thinkers who declare some degree of fidelity to the original vision of Weil, Horkheimer, Pollock, and others should at least provide a modicum of hope.
Cusset, François. 2003. French Theory. Foucault, Derrida, Deleuze & Cie et es mutations de la vie intellectuelle aux État Unis. Éditions La Découverte, Paris.
Jay, Martin. 1988. “Two Cheers for Paraphrase: The Confessions of a Synoptic Intellectual Historian.” In: Martin Jay, Fin-De-Siècle Socialism. Routledge, New York and London, pp. 52-63.