The Book of Common Fallacies

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So long as it fails to understand what the shock of the unintelligible can communicate, the whole dispute resembles shadowboxing.


  • Software Design for Resilient Computer Systems?
  • Commitment.
  • Common-Cause Failure of Safety, Relief Valves (csni-r2002-19).
  • Kipperman, "Shelley, Adorno, and the Scandal of Committed Art".

Confusions in discussion of the problem do not indeed alter it, but they do make it necessary to rethink the alternative solutions proposed for it. Committed art in the proper sense is not intended to generate ameliorative measures, legislative acts or practical institutions—like earlier propagandist tendency plays against syphilis, duels, abortion laws or borstals—but to work at the level of fundamental attitudes.

For Sartre, its task is to awaken the free choice of the agent, that makes authentic existence possible at all, as opposed to the neutrality of the spectator. But what gives commitment its aesthetic advantage over tendentiousness also renders the content to which the artist commits himself inherently ambiguous. What remains is merely the abstract authority of a choice enjoined, with no regard for the fact that the very possibility of choosing depends on what can be chosen.

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The archetypal situation always cited by Sartre to demonstrate the irreducibility of freedom merely underlines this. Within a predetermined reality, freedom becomes a vacant claim: Herbert Marcuse has exposed the absurdity of the philosophical theorem that it is always possible inwardly either to accept or to reject martyrdom. But his plays are nevertheless bad models of his own existentialism, because they display in their respect for truth the whole administered universe which his philosophy ignores: the lesson we learn from them is one of unfreedom.

This is not an individual inadequacy of his plays. In fact, as soon as committed works of art do instigate decisions at their own level, the decisions themselves become interchangeable.

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Because of this ambiguity, Sartre has with great candour confessed that he expects no real changes in the world from literature: a scepticism which reflects both the historical mutations of society and of the practical function of literature since the days of Voltaire. In his literary theory, the work of art becomes an appeal to subjects, because it is itself nothing other than a declaration by a subject of his own choice or failure to choose. Email required. Password required. Create an account Forgot your password? Subscribe for instant access to all articles since Dispatched from the UK in 4 business days When will my order arrive?

Freedom and Negativity in Beckett and Adorno

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Theodor Adorno - Literary and Critical Theory - Oxford Bibliographies

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Benjamin, Adorno, and the Experience of Literature

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