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Michael Brown argues that what unites the human and social sciences is their evolving character, made explicit in the concepts of “reflexivity,” “course of activity,” and “theorizing.” Once the social sciences are taken as a whole, the notion of “sociality” will allow to grasp society as ever changing, as a becoming. I shall examine the notion of sociality in the literary criticism of Lukács, Goldmann, and Adorno, three authors who consider the essay as the adequate open form of critique in times of rapid social change. Originally adopted by the young Lukács, the essay tended to be abandoned by him when elaborating the concept of critical or socialist realism as a repository of timeless cultural values. In his studies in the European realist or the soviet novel, for example, on Balzac, Stendhal, Thomas Mann, or Solzhenitsyn, the dialectical concept of social totality becomes a sum of orientations, presenting the individual writer with the moral task to choose “progress” and discard “negativity.” The social is thus narrowed to individual choice. Different from Lukács, Goldmann's literary theory defines cultural production as a matter of the social group, the transindividual subject. Goldmann was deeply marked by Lukács's early writings from which he gained notably the notion of tragedy and the concept of maximum possible consciousness—the world vision of a social group which structures the work of a writer. Cultural creation is resistance to capitalist society, as evident in the literature of absence, Malraux's novels, and the nouveau roman. In the writings of Adorno the social is lodged within the avant-garde, provided that one takes its means and procedures literally, e.g., the writings of Kafka. By formal innovation—among others the adoption of the essay, the small form, the fragment—art exercises criticism of the ongoing rationalization process and preserves the possibility of change (p. 319).

The purpose of this paper is to clarify the administrative problematisations of conflict-prone urban tourism (e.g. noise) as political processes predetermining the future of city tourism. It is shaped by today’s administrative ways of knowing increasing visitor pressure as an issue for urban (tourism) development.

The problematisation of conflictive urban tourism in Berlin is used as case study and lens to analyse how administrative bodies see conflictive tourism like a tourist city. Drawing on Mariana Valverde’s idea of Seeing Like a City (2011), the paper demonstrates how disparate governmental bodies see and reduce the complexity of conflicts resulting from tourism in order to handle it. The authors use policy documents as the basis for the analysis.

The paper provides empirical insights about how political knowledge on urban tourism conflicts is produced in Berlin. The marginalisation of these conflicts on the federal state level seemingly aces out the calls for action on the borough level (Friedrichshain-Kreuzberg). According to these disparate modes of problematisation, older and younger governmental gazes on conflictive tourism and its future relevance interrelate in contingent combination.

This paper fills a gap in the existing urban tourism literature, by focussing on the definition of policy problems by governmental bodies as powerfully linked to the availability of solutions.