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4 Górski J.

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„Z mitologii w mit” – wczesna myśl Waltera Benjamina w eseju o Friedrichu Hölderlinie. Od tłumacza

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Górski J.

Estetyka i Krytyka

2017

nr 1(44)

89-96

The Hegemonic Subjectification in Ernesto Laclau’s Theory of Discourse

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Górski J.

Dialogue and Universalism

2019

nr 1

233-255

This article discusses the character of hegemonic subjectification as it is seen by Ernesto Laclau. By explaining the concepts of the constitutive features and form of a hegemonically acquired political identity, such as antagonism, undecidability, overdetermination and decision, I define the social fields and dynamics of subjectification. At the same time, I adopt that such subjectification occurs within the boundaries of the particular (demand)–universal, i.e., the ideologically assigned view of identity as totality. Besides, in contrast to Laclau, I juxtapose the dialectically conceived form of the particular–universal relation with its poststructuralist Laclau’s version, and I try to prove that—contrary to Laclau—the idea of hegemony enjoys its vitality thanks to Theodor W. Adorno’s concept of negative dialectics. To determine the points of similarity of the two methods of constructing and deconstructing identity and subjectivity, I reject Elmar Flatschart’s incomparability argument. Lastly, I point out the earlier mentioned points of convergence: on Adorno’s part—the concept of proper names and the concept of constellation; on Laclau’s part—the concept of undecidability and decision which keep discourse ontologically and epistemologically open.

Teologia negatywna Theodora W. Adorno – wprowadzenie

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Górski J.

Kwartalnik Filozoficzny

2014

tom 42

nr 4

35-62

Theodor Wiesengrund Adorno was one of the most original and important philosophers of the 20th century. His pivotal work is Negative Dialectic (1966). It presents the methodology of his critical thought and aesthetic analyses, the source of the categories, concepts, and theories through which his philosophical thinking operates and develops. I argue for that his methodology has its roots not only in Western metaphysical thought (Kantian, Hegelian) and an anti-metaphysical materialism (Marx), but that an equally important, but almost forgotten source is traditional Jewish thought: Luria’s cabbalah in G. Scholem’s interpretation, and its creative assimilation in the theories of W. Benjamin, E. Bloch or R. Rosenzweig. I therefore describe this vanishing context of Adorno’ s philosophy: Scholem’s thesis of cabbalistic revelation as an insignificant “pure language”; Benjamin’s theory of language as a phenomenon-constellation and presentation of ideas; Bloch’s concept of “traces” as a paradoxical presence of revelation; Rosenzweig’s theory of salvation and its immanent critique of Hegelian Reason as Totality. My goal is to show the specificity and creative continuation of above ideas in Negative Dialectic. I thus underline the importance of the relationship between Western thought and the Jewish tradition, renewed by Adorno’s work.

Mimesis, cezura i spekulacja w filozofii T.W. Adorna i P Lacoue- Labarthe`a

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Górski J.

Kwartalnik Filozoficzny

2017

tom 45

nr 4

135-167

The aim of this essay is a better understanding of two crucial 20th century conceptions of mimesis. A comparative analysis will be conducted of, on the one hand, Adorno’s theory of mimesis-construction (Ratio) interrelations in the context of the philosophical and political determinants of 20th century art “after” Auschwitz, and, on the other, of Philippe Lacoue-Labarthe’s critical interpretation of the aforementioned theory. In his aesthetic theory, with its framework of negative dialectics, Adorno uses the idea of mimesis-construction to define and to describe the very profound, fundamental relation between art philosophy and politics, whereas Lacoue-Labarthe – a French poststructuralist from the second half of 20th century – is focusing on the deconstruction of such interplay in the name of the autonomy of art. The common ground for this comparison is provided by Friedrich Hölderlin’s early poetry and his theory of modern tragedy, as well as Walter Benjamin’s idea of das Gedichtete and Martin Heidegger’s thesis on the role of poetry and the figure of the poet. In short, this essay will aim to present Adorno’s theory as worded in his Parataxis in the light of the critique from Lacoue-Labarthe’s essay titled Il faut.