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Ге́рберт Марку́зе — немецкий и американский философ, социолог и культуролог, представитель Франкфуртской школы. Wikipedia  

✵ 19. Июль 1898 – 29. Июль 1979
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Герберт Маркузе: 108 цитат3 Нравится

Герберт Маркузе знаменитые цитаты

„Занимайся любовью, а не войной.“

Герберт Маркузе

Источник: [Патрик Дж. Бьюкенен, Смерть Запада, The Death of the West, АСТ, 2007, 448, Philosophy, 5-17-017537-Х]

„Сегодняшние теология и философия состязаются друг с другом в воспевании смерти как экзистенциальной категории. Искажая природу биологического факта и превращая его в онтологическую сущность, они награждают вину человечества трансцендентальным благословением, способствующим ее увековечению.“

Герберт Маркузе

„Смерть может стать символом свободы, ибо ее необходимость не уничтожает возможность окончательного освобождения. Как и другие формы необходимости, она может стать рациональной — безболезненной.“

Герберт Маркузе

Герберт Маркузе: Цитаты на английском языке

“In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 62

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 59-60

“By virtue of the universal concept, thought attains mastery over the particular cases. However, the most formalized universe of logic still refers to the most general structure of the given, experienced world; the pure form is still that of the content which it formalizes. The idea of formal logic itself is a historical event in the development of the mental and physical instruments for universal control and calculability. In this undertaking man had to create theoretical harmony out of actual discord, to purge thought from contradictions, to hypostatize identifiable and fungible units in the complex process of society and nature. Under the rule of formal logic, the notion of the conflict between essence and appearance is expendable if not meaningless; the material content is neutralized; the principle of identity is separated from the principle of contradiction (contradictions are the fault of incorrect thinking); final causes are removed from the logical order. Well defined in their scope and function, concepts become instruments of prediction and control. Formal logic is thus the first step on the long road to scientific thought”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 137

“Entertainment and learning are not opposites; entertainment may be the most effective mode of learning.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 66-67

“They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 60-61

“The present stage redefines the possibilities of man and nature in accordance with the new means available for their realization.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 65

“The judgment that human life is worth living, or rather can and ought to be made worth living, … underlies all intellectual effort; it is the a priori of social theory, and its rejection (which is perfectly logical) rejects theory itself.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. xliii

“In the Platonic dialectic, … the terms “Being” “Non-being” “Movement,” “the One and the Many” “Identity” and “Contradiction” are methodically kept open, ambiguous, not fully defined. They have an open horizon, an entire universe of meaning which is gradually structured in the process of communication itself, but which is never closed. The propositions are submitted, developed, and tested in a dialogue, in which the partner is led to question the normally unquestioned universe of experience and speech, and to enter a new dimension of discourse — otherwise he is free and the discourse is addressed to his freedom. He is supposed to go beyond that which is given to him — as the speaker, in his proposition, goes beyond the initial setting of the terms. These terms have many meanings because the conditions to which they refer have many sides, implications, and effects which cannot be insulated and stabilized.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 131

“If dialectical logic understands contradiction as “necessity” belonging to the very “nature of thought,” … it does so because contradiction belongs to the very nature of the object of thought, to reality, where Reason is still Unreason, and the irrational still the rational. Conversely, all established reality militates against the logic of contradictions — it favors the modes of thought which sustain the established forms of life and the modes of behavior which reproduce and improve them. The given reality has its own logic and its own truth; the effort to comprehend them as such and to transcend them presupposes a different logic, a contradicting truth. They belong to modes of thought which are non-operational in their very structure; they are alien to scientific as well as common-sense operationalism. … These modes of thought appear to be a relic of the past, like all non-scientific and non-empirical philosophy. They recede before a more effective theory and practice of Reason.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 142

“In its relation to the reality of daily life, the high culture of the past was many things—opposition and adornment, outcry and resignation. But it was also the appearance of the realm of freedom: the refusal to behave.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 71

“Under the rule of a repressive whole, liberty can be made into a powerful instrument of domination. The range of choice open to the individual is not the decisive factor in determining the degree of human freedom, but what can be chosen and what is chosen by the individual.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 7

“Freed from the sublimated form which was the very token of its irreconcilable dreams—a form which is the style, the language in which the story is told—sexuality turns into a vehicle for the bestsellers of oppression. … This society turns everything it touches into a potential source of progress and of exploitation, of drudgery and satisfaction, of freedom and of oppression. Sexuality is no exception.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 77-78

“the need for stupefying work where it is no longer a real necessity.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 7

“The subversive character of truth inflicts upon thought an imperative quality. Logic centers on judgments which are, as demonstrative propositions, imperatives, — the predicative “is” implies an “ought.” … Verification of the proposition involves a process in fact as well as in thought: (S) must become that which it is. The categorical statement thus turns into a categorical imperative; it does not state a fact but the necessity to bring about a fact. For example, it could be read as follows: man is not (in fact) free, endowed with inalienable rights, etc., but he ought to be.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 132-133

“The neo-conservative critics of leftist critics of mass culture ridicule the protest against Bach as background music in the kitchen, against Plato and Hegel, Shelley and Baudelaire, Marx and Freud in the drugstore. Instead, they insist on recognition of the fact that the classics have left the mausoleum and come to life again, that people are just so much more educated. True, but coming to life as classics, they come to life as other than themselves; they are deprived of their antagonistic force, of the estrangement which was the very dimension of their truth.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 64

“Many, and I think the determining, constitutive facts remain outside the reach of the operational concept. And by virtue of this limitation—this methodological injunction against transitive concepts which might show the facts in their true light and call them by their true name—the descriptive analysis of the facts blocks the apprehension of facts and becomes an element of the ideology that sustains the facts. Proclaiming the existing social reality as its own norm, this sociology fortifies in the individuals the “faithless faith” in the reality whose victims they are.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 119

“In conditions of private property … “life-activity” stands in the service of property instead of property standing the service of free life-activity.”

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Herbert Marcuse

"The Foundations of Historical Materialism," Studies in Critical Philosophy (1972), p. 32

“If the progressing rationality of advanced industrial society tends to liquidate, as an “irrational rest,” the disturbing elements of Time and Memory, it also tends to liquidate the disturbing rationality contained in this irrational rest. Recognition and relation to the past as present counteracts the functionalization of thought by and in the established reality. It militates against the closing of the universe of discourse and behavior it renders possible the development of concepts which destabilize and transcend the closed universe by comprehending it as historical universe. Confronted with the given society as object of its reflection, critical thought becomes historical consciousness as such, it is essentially judgment. Far from necessitating an indifferent relativism, it searches in the real history of man for the criteria of truth and falsehood, progress and regression. The mediation of the past with the present discovers the factors which made the facts, which determined the war of life, which established the masters and the servants; it projects the limits and the alternatives. When this critical consciousness speaks, it speaks “le langage de la connaissance” (Roland Barthes) which breaks open a closed universe of discourse and its petrified structure. The key terms of this language are not hypnotic nouns which evoke endlessly the same frozen predicates. They rather allow of an open development; they even unfold their content in contradictory predicates. The Communist Manifesto provides a classical example. Here the two key terms, Bourgeoisie and Proletariat, each “govern” contrary predicates. The “bourgeoisie” is the subject of technical progress, liberation, conquest of nature, creation of social wealth, and of the perversion and destruction of these achievements. Similarly, the "proletariat” carries the attributes of total oppression and of the total defeat of oppression. Such dialectical relation of opposites in and by the proposition is rendered possible by the recognition of the subject as an historical agent whose identity constitutes itself in and against its historical practice, in and against its social reality. The discourse develops and states the conflict between the thing and its function, and this conflict finds linguistic expression in sentences which join contradictory predicates in a logical unit—conceptual counterpart of the objective reality. In contrast to all Orwellian language, the contradiction is demonstrated, made explicit, explained, and denounced.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 99-100

“The people are led to find in the productive apparatus the effective agent of thought and action to which their personal thought and action can and must be surrendered. And in this transfer, the apparatus also assumes the role of a moral agent. Conscience is absolved by reification.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 79

“The category “society” itself expressed the acute conflict between the social and political sphere—society as antagonistic to the state. Similarly, “individual,” “class,” “private,” “family” denoted spheres and forces not yet integrated with the established conditions—spheres of tension and contradiction. With the growing integration of industrial society, these categories are losing their critical connotation, and tend to become descriptive, deceptive, or operational terms. An attempt to recapture the critical intent of these categories, and to understand how the intent was cancelled by the social reality, appears from the outset to be regression from a theory joined with historical practice to abstract, speculative thought: from the critique of political economy to philosophy. This ideological character of the critique results from the fact that the analysis is forced to proceed from a position “outside” the positive as well as negative, the productive as well as destructive tendencies in society.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. xlvi

“Man today can do more than the culture heros and half-gods; he has solved many insoluble problems. But he has also betrayed the hope and destroyed the truth which were preserved in the sublimations of higher culture. To be sure, the higher culture was always in contradiction with social reality, and only a privileged minority enjoyed its blessings and represented its ideals. The two antagonistic spheres of society have always coexisted; the higher culture has always been accommodating, while the reality was rarely disturbed by its ideals and its truth. Today's novel feature is the flattening out of the antagonism between culture and social reality through the obliteration of the oppositional, alien, and transcendent elements in the higher culture by virtue of which it constituted another dimension of reality. This liquidation of two-dimensional culture takes place not through the denial and rejection of the “cultural values,” but through their wholesale incorporation into the established order, through their reproduction and display on a massive scale.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 56-57

“Outside the academic establishment, the “far-reaching change in all our habits of thought” is more serious. It serves to coordinate ideas and goals with those exacted by the prevailing system, to enclose them in the system, and to repel those which are irreconcilable with the system. The reign of such a one-dimensional reality does not mean that materialism rules, and that the spiritual, metaphysical, and bohemian occupations are petering out. On the contrary, there is a great deal of “Worship together this week,” “Why not try God,” Zen, existentialism, and beat ways of life, etc. But such modes of protest and transcendence are no longer contradictory to the status quo and no longer negative. They are rather the ceremonial part of practical behaviorism, its harmless negation, and are quickly digested by the status quo as part of its healthy diet.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 13-14

“No matter how close and familiar the temple or cathedral were to the people who lived around them, they remained in terrifying or elevating contrast to the daily life of the slave, the peasant, and the artisan—and perhaps even to that of their masters. Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is. The modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence. But these modes of negation pay tribute to the antagonistic society to which they are linked. Separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion. In this form it continues, in spite of all democratization and popularization, through the nineteenth and into the twentieth century. The “high culture” in which this alienation is celebrated has its own rites and its own style. The salon, the concert, opera. theater are designed to create and invoke another dimension of reality. Their attendance requires festive-like preparation; they cut off and transcend everyday experience. Now this essential gap between the arts and the order of the day, kept open in the artistic alienation, is progressively closed by the advancing technological society. And with its closing, the Great Refusal is in turn refused; the “other dimension” is absorbed into the prevailing state of affairs. The works of alienation are themselves incorporated into this society and circulate as part and parcel of the equipment which adorns and psychoanalyzes the prevailing state of affairs.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 63-64

“Either one defines “personality” and “individuality” in terms of their possibilities within the established form of civilization, in which case their realization is for the vast majority tantamount to successful adjustment. Or one defines them in terms of their transcending content, including their socially denied potentialities beyond (and beneath) their actual existence; in this case, their realization would imply transgression, beyond the established form of civilization, to radically new modes of “personality” and “individuality” incompatible with the prevailing ones. Today, this would mean “curing” the patient to become a rebel or (which is saying the same thing) a martyr.”

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Herbert Marcuse книга Eros and Civilization

“Critique of Neo-Freudian Revisionism”
Eros and Civilization: A Philosophical Inquiry into Freud (1955)

“The range of socially permissible and desirable satisfaction is greatly enlarged, but through this satisfaction, the Pleasure Principle is reduced—deprived of the claims which are irreconcilable with the established society. Pleasure, thus adjusted, generates submission.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 75

“The intellectual is called on the carpet. … Don't you conceal something? You talk a language which is suspect. You don't talk like the rest of us, like the man in the street, but rather like a foreigner who does not belong here. We have to cut you down to size, expose your tricks, purge you.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 192

“The liberating force of technology—the instrumentalization of things—turns into … the instrumentalization of man.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 159

“The happy consciousness is shaky enough—a thin surface over fear, frustration, and disgust.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), p. 76

“As the great words of freedom and fulfillment are pronounced by campaigning leaders and politicians, on the screens and radios and stages, they turn into meaningless sounds which obtain meaning only in the context of propaganda, business, discipline, and relaxation. This assimilation of the ideal with reality testifies to the extent to which the ideal has been surpassed. It is brought down from the sublimated realm of the soul or the spirit or the inner man, and translated into operational terms and problems. Here are the progressive elements of mass culture. The perversion is indicative of the fact that advanced industrial society is confronted with the possibility of a materialization of ideals. The capabilities of this society are progressively reducing the sublimated realm in which the condition of man was represented, idealized, and indicted. Higher culture becomes part of the material culture. In this transformation, it loses the greater part of its truth.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 57-58

“The apparatus defeats its own purpose if its purpose is to create a humane existence on the basis of a humanized nature.”

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Herbert Marcuse книга One-Dimensional Man

Источник: One-Dimensional Man (1964), pp. 145-146

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