Rethinking the Frankfurt School: Alternative Legacies of Cultural Critique (review)

Not long ago at a gathering of arts and humanities scholars, I found myself introduced to a group of people as someone interested in the work of Theodor Adorno, whose name led one member of the group to groan, "Not that old chestnut!" Such has been an ambient attitude in cultural studies toward not just the work of Adorno but many of the scholars who came to be known collectively in the 1960s as the Frankfurt School, thanks to their affiliation with the Institute for Social Research at the University of Frankfurt. Rethinking the Frankfurt School , a deceptively slim volume that manages to cover a lot of ground in a dozen densely packed essays edited by Jeffrey T. Nealon and Caren Irr, counters the conventional cultural studies wisdom regarding the Frankfurt School, debunking along the way not just the facile dismissal of some of the school's members for their "mandarin elitism," but also the notion that the scholars who arguably pioneered the critical study of mass culture have lost their relevance for cultural studies.

The association of the Frankfurt School with a cranky and outdated variant of bourgeois proto-Marxism—what Lukacs once dismissed as self-indulgent despair cultivated in the comfort of "the Grand Hotel Abyss"—was at least in part a legacy of the rediscovered cultural and political optimism of the late 1960s. This optimism came to characterize those strands of cultural studies that countered the gloomy assessments of the Frankfurt School with the potential of what the collection's editors disparagingly describe as "subversive consumption." From the perspective of the new millennium it's no longer the Frankfurt scholars who look misguided. In a turning of the tables, the outdated figure of this volume is not Adorno, the pointy-headed pessimist, but rather those who helped dismiss him as such. In particular, Simon During, who edited the 1993 version of the cultural studies canon, The Cultural Studies Reader , comes in for a double dose of implicit criticism (thanks in part to what seems to be an editing oversight) for his critique of Horkheimer and Adorno's failure to take into account the "opportunities for all kinds of individual collective creativity and decoding" provided by the culture industries (3, 62). If, as During suggested, the 1960s represented a time in which the mass media had become more variegated and presumably more flexible and porous than in the period treated by Horkheimer and Adorno, this collection suggests the renewed relevance of the Frankfurt School might in part be explained by the "unprecedented consolidation within the multinational 'infotainment' industry" during the 1990s (5). The triumphal resuscitation and consolidation of monopoly capitalism triggers, on this account, the rehabilitation of its most scathing critics.

The more compelling argument advanced in this volume, however, is that the ostensibly outdated character of much of the work of the Frankfurt School was as much a result of superficial and dismissive readings as of changing historical conditions. As contributor Evan Watkins suggests in his discussion of Adorno, the dominant tendency in culture studies has been to contradict disparaging claims about mass culture (claims which earned Adorno and Horkheimer the sticky moniker of elitists) rather than to take seriously an approach that explored the intricate connections between mass culture and the social relations of production and consumption. Only in the abstract can the consumption of ostensibly counter-hegemonic texts be figured as subversive politics, especially during a time when "The Times They Are A-Changin' " can become a jingle for a bank commercial.

Against the theoretical backdrop of the Frankfurt School, the very attempt to isolate culture as a sphere of resistance unto itself becomes a symptom of reification. As Imre Szeman puts it, perhaps the most important lesson of the Frankfurt School for cultural studies "can be summarized by a negative maxim: don't fetishize culture" (74...