Academic literature on the topic 'Adorno (1903-1969)'
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Journal articles on the topic "Adorno (1903-1969)"
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Teixeira Filho, Francisco Luciano. "A ressemantização do Fundamento em Theodor W. Adorno [The ressemantization of the foundation in Theodor W. Adorno]." Princípios: Revista de Filosofia (UFRN) 24, no. 44 (August 21, 2017): 129. http://dx.doi.org/10.21680/1983-2109.2017v24n44id12059.
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Apresenta-se a tese da ressemantização do conceito de fundamento em Adorno (1903–1969). Através de análise bibliográfica e teórica, pretende-se demonstrar como é possível pensar a fundamentação numa filosofia marcada, essencialmente, pelo fracasso do projeto iluminista recente.[This paper presents the thesis of the resemantization of the concept of foundation in Adorno (1903-1969). Through bibliographical and theoretical analysis, it is intended to demonstrate how it is possible to think the foundation in a philosophy marked, essentially, by the failure of recent Enlightenment project.]
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De Moura, Dalmo Cavalcante. "O Fracasso Escolar e a Teoria da Semiformação: Considerações Preliminares entre Charlot e Adorno." P2P E INOVAÇÃO 5, no. 1 (September 7, 2018): 89–101. http://dx.doi.org/10.21721/p2p.2018v5n1.p89-101.
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RESUMO: Nesse artigo iremos problematizar a questão do Fracasso Escolar em Charlot e as possíveis relações com a Formação Integral de Adorno (1903-1969).Palavras chave: Fracasso Escolar; Formação Integral, Experiência danificada.
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Clemens, Manuel. "Theodor W. Adorno (1903–1969), The Authoritarian Personality (1950)." KulturPoetik 21, no. 2 (September 20, 2021): 308–17. http://dx.doi.org/10.13109/kult.2021.21.2.308.
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Huber, Till. "Theodor W. Adorno (1903-1969), Prismen. Kulturkritik und Gesellschaft (1955)." KulturPoetik 15, no. 1 (March 2015): 123–33. http://dx.doi.org/10.13109/kult.2015.15.1.123.
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Shiota, Ricardo Ramos. "ADORNO, Theodor. Introdução à sociologia (1968). Tradução: Wolfgang Leo Maar. Apresentação à edição brasileira: Gabriel Cohn. São Paulo: Editora UNESP, 2008." Idéias 4, no. 1 (July 29, 2013): 257. http://dx.doi.org/10.20396/ideias.v4i1.8649407.
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A coleção de livros sobre Theodor W. Adorno (1903-1969) da Editora UNESP tem publicado textos importantes e alguns inéditos, em língua portuguesa, deste conhecido pensador. As edições seguem um mesmo padrão de publicação: foram traduzidas diretamente do alemão, acompanhadas de índices onomásticos, introduções e notas de contextualização escritas por especialistas brasileiros.
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Sunarto, Sunarto. "NEGATIVITAS TOTAL: KRITIK ADORNO TERHADAP RASIONALITAS DAN SENI MASYARAKAT MODERN." Pelataran Seni 1, no. 2 (September 17, 2016): 137. http://dx.doi.org/10.20527/jps.v1i2.1883.
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Theodor Wiesengrund Adorno (1903-1969) adalah salah satu tokoh dari Mazhab Frankfurt, yang sangat akrab dengan Max Horkheimer. Keduanya membesarkan Mazhab Frankfurt. Adorno ahli dari berbagai bidang: filsafat, sosiologi, dan musikolgi. Pemikirannya saling bertautan. Kritiknya terhadap seni modern lebih kepada pertautan dengan sosiologi. Kondisi masyarakat modern post-aufklarung telah begitu memprihatinkan dengan mengorbankan hidup demi rasionalitas teknologi yang instrumental. Adorno menganggap telah terjadi pembalikkan total atas peran manusia sebagai subjek menjadi objek. Masyarakat modern telah terjebak rasionalitasnya sendiri. Bidang seni telah terjebak pada industrialisasi, yang memungkinkan manusia telah kehilangan daya estetis. Manusia menciptakan seni dan sebagai subjek seni akhirnya menjadi objek seni. Realitas inilah yang disebut sebagai “negativitas total”, manusia ingin menguasai alam akhirnya terkuasai oleh alam itu sendiri. Seni yang diciptakan manusia, akhirnya menjadi seni untuk kebutuhan “sesaat” dan konsumtif belaka.Kata Kunci: seni, negativitas total, teori kritis, rasionalitas Theodor Wiesengrund Adorno (1903-1969) is one of the leaders of the Frankfurt School, who is very familiar with Max Horkheimer. Both raise the Frankfurt School. Adorno experts from various fields: philosophy, sociology, and musikolgi. Their thinking is interlocked. His criticism of modern art is more to engagement with sociology. Conditions Aufklarung post-modern society has been so alarming at the expense live for rasionality instrumental technology. Adorno considers there has been a total reversal of the role of man as a subject to an object. Modern society has stuck own rationality. The arts have been stuck on industrialization, which allows humans have lost their aesthetic. Humans create art and as a subject of art eventually became an art object. Reality is what is referred to as "total negativity", humans want to control nature eventually possessed by nature itself. Art created humans, eventually becoming an art for the needs of “instantaneous” and a mere consumer.Keywords: art, total negativity, critical theory, rationality
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Da Silva, Fábio César. "Aspectos “Subjetivos” do Fetichismo da Mercadoria Cultural no Ensaio Sobre Música Popular de T. W. Adorno." Kalagatos 13, no. 27 (May 25, 2017): 209–27. http://dx.doi.org/10.23845/kgt.v13i27.69.
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Neste artigo, apresento uma leitura do ensaio Sobre Música Popular (1941) de T. W. Adorno (1903-1969), enfatizando os aspectos “subjetivos” do fetichismo da mercadoria cultural. Considero aspectos “subjetivos” do fetichismo quando se enfatiza o consumo de mercadorias. Esse ensaio fez parte dos resultados de pesquisa de rádio da Universidade de Princeton, feita nos Estados Unidos entre 1938 a 1940, cujo objetivo era analisar as programações radiofônicas. Focarei a leitura na seção Teoria do Ouvinte, pois nela Adorno enfatizou esses aspectos “subjetivos” por meio de análises específicas do consumo da música popular americana supondo seus modos de recepção.
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Passos, Rodrigo Duarte Fernandes dos. "Os meios de comunicação como instrumento de poder: Theodor Ludwig Wiesengrund Adorno (1903-1969) e a Indústria Cultural." Cadernos do PET Filosofia 2, no. 3 (July 27, 2011): 35–43. http://dx.doi.org/10.26694/cadpetfil.v2i3.607.
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Resumo: O objetivo do texto abordar a temtica dos meios de comunicao como instrumento de poder luz da indstria cultural conforme Theodor Adorno. Busca-se responder seguinte questo: como a indstria cultural reproduz as relaes de poder no capitalismo contemporneo? Para a consecuo de tal objetivo, o texto apresenta as seguintes etapas: uma breve contextualizao histrica e terica da Teoria Crtica - vertente filosfica qual Adorno e outros autores se filiaram - a definio da indstria cultural conforme Adorno em seus principais argumentos, os efeitos da indstria cultural e do capitalismo organizado, a postura crtica frente ao contexto referido e a nova postura de Adorno nos anos 50 e 60 frente aos meios de comunicao. A principal tese do artigo leva ao entendimento de que a indstria cultural incorpora toda uma racionalidade de dominao e disciplina da vida social e reproduo da ordem capitalista vigente, acabando com as contradies no mbito das manifestaes artsticas na medida em que somente o lucro visado. Summary: The aim of this text is discuss communication means as power instrument in the light of culture industry according to Theodor Adorno. There is a main question which the article seeks an answer: how does culture industry reproduce power relations in contemporary capitalism? In order to concretize this aim, this text presents the following parts: a brief historical and theoretical contextualization of Critical Theory - Adorno and other authors' philosophical current - culture industry concept according to Adorno, culture industry and organized capitalism effects, critical position on this context and Adrono's new posture in the fifties and sixties on communication means. The article's main thesis points to evaluation of culture industry1s rationality of domination and discipline of social life and reproducing of actual capitalist order. This leads to the end of contradictions in art, considering that profit is the only aim. Keywords: Culture Industry, Communication, Power.
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Roitberg, Guilherme Prado. "DA SEMIFORMAÇÃO À OMNILATERALIDADE: REFLEXÕES SOBRE UTOPIAS FORMATIVAS E EMANCIPAÇÃO." Educação: Teoria e Prática 29, no. 61 (August 27, 2019): 305–20. http://dx.doi.org/10.18675/1981-8106.vol29.n61.p305-320.
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O presente artigo analisa os aspectos formativos de dois grandes ideais de formação que marcaram a história da educação ocidental: a Paideia grega e a Bildung alemã. A partir da perspectiva histórica, tomando como base o conceito de omnilateralidade de Karl Marx (1818-1883) e a teoria da semiformação de Theodor Adorno (1903-1969), resgatamos as origens e os fundamentos filosóficos das utopias formativas, ressaltando sua relevância na constituição de uma educação política de caráter crítico e emancipatório no contexto da contemporaneidade.
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Ripa, Roselaine, and Alex Sander da Silva. "A EXPERIÊNCIA ESTÉTICA NA FORMAÇÃO DOCENTE: REFLEXÕES A PARTIR DE THEODOR W. ADORNO." Atos de Pesquisa em Educação 16 (December 8, 2021): 10206. http://dx.doi.org/10.7867/1809-0354202116e10206.
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Este trabalho tem o objetivo de pensar nas contribuições da experiência estética, a partir das reflexões de Theodor W. Adorno (1903-1969), para a formação docente. Theodor W. Adorno, que integrou a primeira geração da chamada Escola de Frankfurt, teceu importantes reflexões críticas ao longo de sua produção escrita, entrelaçando arte e filosofia, com potencial para pensarmos os conceitos de Educação, Experiência e Formação na sociedade administrada. Na primeira parte deste trabalho, apresentaremos uma discussão teórica sobre esses três conceitos no mundo contemporâneo, tendo como base as reflexões presentes, particularmente, na Teoria da Semiformação (2010) de Adorno. Ao trazer para discussão do processo formativo na atualidade a tensão que Adorno alimenta entre a Bildung e a Halbbildung, buscaremos compreender a Educação em seu sentido de emancipação social e política. Na sequência, teceremos apontamentos sobre alguns elementos para pensar a experiência estética e a formação docente, de modo particular, pensar a tensão entre as obras de arte e os significados da formação docente em tempos de dominação da lógica mercantil no âmbito educacional.
Dissertations / Theses on the topic "Adorno (1903-1969)"
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Kalant, Amelia. "The politics of dissonance : a criticism of Theodor Adorno's theory of music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61828.
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Tommaselli, Guilherme Costa Garcia [UNESP]. "Formação e semiformação nos escritos educacionais de Theodor Adorno." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/96330.
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tommaselli_gcg_me_mar.pdf: 510521 bytes, checksum: 1ab200c24a129961ef97261ab9f5eeca (MD5)A presente dissertação tem como objetivo realizar uma investigação sobre os conceitos de formação e semiformação nos escritos educacionais de Theodor Adorno e mais especificamente na coletânea de texto “Educação e emancipação”. O conceito de Halbbildung (semiformação) desenvolvido por Adorno é fundamental para realizar uma análise da educação, sendo, portanto, central em nossa análise. Os textos em que o autor trata da educação são um valioso referencial teórico, visto que representam uma poderosa ferramenta de reflexão crítica dessa sociedade, que, traz em si o germe da barbárie, da semiformação. Para tanto, o caminho escolhido para essa reflexão perpassa a compreensão dos conceitos de Bildung (formação cultural), Halbbildung (semiformação), assim como emancipação, articulando-os ao conceito de educação
The present work aims to conduct an investigation into the concepts of training and educational semi-formation, in the writings of Theodor Adorno, specifically in the collection Education and Emancipation. The concept of Halbbildung (semi-formation), developed by Adorno, is critical to perform an analysis of education, therefore, central to our analysis. The texts in which the author comes to education are a valuable theory, since they represent a powerful tool for critical reflection about capitalist society, which brings the germ of barbarity, of semi-erudition in itself. For this purpose we have chosen for this reflection pervades the understanding of the concepts of Bildung (cultural background), Halbbildung (semi-formation), as well as emancipation, linking them to the concept of education
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Dion, François. "Le problème de la métaphysique dans la pensée de Theodor W. Aldorno." Master's thesis, Université Laval, 2002. http://hdl.handle.net/20.500.11794/46644.
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Le but de ce mémoire est de présenter la position de Theodor W. Adomo sur la métaphysique. Après avoir exposé l’idée philosophique centrale de la pensée d’Adomo, la dialectique négative, nous présentons d’une part la critique qu’adresse Adomo à la tradition métaphysique, et d’autre part sa tentative de sauvetage de la métaphysique. La thèse centrale d’Adomo sur la métaphysique est la suivante : la métaphysique doit être sauvée dans une perspective micrologique, une perspective qui est centrée sur la particularité plutôt que sur l’universalité.
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Bilodeau, Potvin Julien. "Subjectivité et morale dans la philosophie de T.W. Adorno." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26460.
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Ce mémoire a pour objectif de présenter la conception de la subjectivité telle qu’elle est définie dans la philosophie de Theodor W. Adorno. Il s’agira de montrer que cette conception cherche à la fois à maintenir et dépasser la tradition idéaliste qui est à son origine. Cette tradition pense la subjectivité comme raison, autonomie et spontanéité, fondées sur la pure relation à soi de la conscience. Sans abandonner l’horizon d’une philosophie de la conscience, la conception adornienne du sujet insiste sur le rôle constitutif de la figure d’autrui, comprise à la fois comme nature, non-identité et différence. La subjectivité chez Adorno ne doit donc plus être exclusivement comprise comme raison et comme capacité d’autodétermination, mais également comme potentialité d’être librement affectée par ce qui lui est autre. Adorno nomme cette potentialité la réconciliation et la thématise sous le signe de la « communication du différent » : un rapport libéré de la peur et de la souffrance entre les individus. Dans un tel rapport, la nature n’est ni aveugle ni opprimée, laissant place à une harmonie entre la raison et ce qui lui est autre. C’est ainsi que la philosophie d’Adorno formule l’exigence morale d’une résistance critique de la pensée ouverte à la différence.The purpose of this study is to present the conception of the subject found in the philosophy of T.W. Adorno. We will show that Adorno thinks subjectivity both with and against the German idealist tradition that gave it birth. This tradition poses that the essence of the subject is reason, spontaneity and autonomy, founded in the relationship of self to its consciousness. Adorno maintains the importance of a philosophy of consciousness, but also insists on the constitutive role of the other in the formation of the subject. As such, subjectivity for Adorno is no longer exclusively understood as reason or the power of self-determination, but must also as the potentiality of being freely affected by what is different. He thus insists on reconciliation, a non-dominating and non-submitting relationship to nature, to build his moral philosophy. Reconciliation must be understood as the “communication of differences”: a relationship between individuals in which they no longer need to fear or suffer needlessly. Moral thought must for Adorno attempt to think a state where a harmony would be possible between reason and nature, the critical resistance of thought and the openness to what is different.
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GOMES, Maria Socorro. "Mímesis, educação e prática docente em Theodor W. Adorno." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/6012.
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GOMES, Maria Socorro. Mímesis, educação e prática docente em Theodor W. Adorno. 2013. 101f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-03T16:01:03Z No. of bitstreams: 1 2013-DIS-MSGOMES.pdf: 1734747 bytes, checksum: 5aba8082fb5d5b270dcbd3d2386674a5 (MD5)
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The difficulties of education in fulfilling its tasks have been intensified day by day. We venture to say that it happens not for taking into consideration the hypothesis that individuals are suffering from some degree of irrationality, i.e. they do not always act according to reason, and that, as Adorno emphasizes, they do not escape from their authoritarian moment, when an individual acts in accordance with his interests, managing to forget other people’s rights. In view of this, the central focus of the dissertation is to examine the relationship between mimesis, education and teaching practice in Theodor W. Adorno. That is, the goal is to explain how the phenomenon of mimesis can act on teaching practice and how it can influence education, developing abusive behavior both in students and in teachers. This is a literature search, since it is designed according to published materials, consisting mainly of books and articles. It is based on critical theory under a dialectical-negative approach. At first the paper discusses the interrelationship of the concepts of mimesis and Clarification relying on the book Dialética do Esclarecimento. In the second stage of the work, the purpose is to address the relevance of mimesis in the educational process with support in the concepts of semi-erudition (Halbbildung) and cultural industry (Kulturindustrie). In the third stage of the research is shown how the relationship between mimesis and teaching practice and its philosophical implications in the educational-training process are made. Although the philosopher does not offer a position that fully meets the practical requirements because he said education is immersed in ambiguities that hinder closed positioning, the results of the research indicate the need to rethink education in its subjective aspects. They also indicated that teachers’ actions can be presented as mimetic behavior as they disseminate the practices of the dominant ideology favoring the maintenance of an education faced almost exclusively to the work force, requiring a posture of defiance and resistance on the part of both students and teachers and that therefore the policy initiative should be part of the routine practice of every teacher who needs the unconditional support of those who dream up the educational reforms so that they walk the wrong way to the ideological and political forms of domination and configurations of economic and political-cultural unfamiliarity and social alienation.
A cada dia se intensificam as dificuldades da educação em cumprir sua tarefa. Arriscamo-nos em dizer que isto acontece por não ser levada em consideração a hipótese de que os indivíduos são portadores de certo grau de irracionalidade, ou seja, nem sempre agem segundo a razão, e esta, como acentua Adorno, não escapa de seu momento autoritário, quando um indivíduo age conforme interesses particulares, esquecendo-se dos direitos dos outros. Em vista disso, o foco central destadissertação consiste em analisara articulação entre a mímesis, a educação e a prática docente em Theodor W. Adorno. Ou seja, o objetivo é explanarcomo o fenômeno da mímesis pode atuar na prática docente ecomo podeinfluenciar na educação,desenvolvendo comportamentos abusivos tanto nos alunos como nos professores.Trata-se de uma pesquisa bibliográfica, pois é elaborada com baseem materiais publicados, constituindo-se principalmente de livros e artigos.Ampara-se na teoria crítica sob uma abordagem dialético-negativa. No primeiro momento do trabalho discute-se a inter-relação dos conceitos de Esclarecimento e mímesis apoiando-se na obra Dialética do Esclarecimento. No segundo momento do trabalho a finalidade é abordar a relevância da mímesis no processo educativo com arrimo nos conceitos de semiformação (Halbbildung) e indústria cultural(Kulturindustrie). No terceiro momento do trabalho vê-se comose dá a relação entre a mímesis e a prática docentee suas implicações filosófico-educacionais no processo formativo.Embora o filósofo não ofereça uma posição que satisfaça inteiramente as exigências práticas, pois segundo ele a educação está imersa em ambigüidades que dificultam um posicionamento fechado, os resultados da pesquisa indicaram a necessidade de repensar a educação em seus aspectos subjetivos. Indicaram também que a iniciativa política deve fazer parte da prática cotidiana de cada professor, que necessita do auxílio incondicional dos que pensam as reformas educativas para que estas caminhem à contrapelo das formas ideológicas e políticas de dominação e das configurações econômicas e político-culturais de estranhamento e de reificação social.
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Oliveira, Yonara Dantas de. "O rebaixamento da negatividade da arte: Um estudo sobre a instrumentalização do teatro na educação." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-14072010-174052/.
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Este estudo discute a inserção do teatro no âmbito educacional, considerando o atravessamento do teatro pela instituição escolar e os movimentos que permearam a história do teatro. Com base na teoria crítica da sociedade desenvolvida por Theodor Wiesengrund Adorno, entende-se que o teatro, como expressão artística, é, em si, forma de conhecimento. Por meio do seu caráter de negatividade, as obras de arte condensam as antinomias e os antagonismos como antíteses da sociedade enquanto problema de sua forma interna, o que potencializa a arte como crítica imanente à realidade social. Partindo desse entendimento, buscou-se elucidar como o teatro se relaciona com os demais conteúdos escolares. Para tanto, foram selecionadas como material para análise quatro produções acadêmicas sobre teatro e educação, entre dissertações e teses produzidas na Universidade de São Paulo, já situadas dentro do contexto da vigência da nova Lei de Diretrizes e Bases da Educação, de 1996, e da implementação dos Parâmetros Curriculares Nacionais, em 1998. As reflexões de Theodor W. Adorno e as discussões apresentadas nas obras selecionadas contribuem para a compreensão do objeto de estudo, em uma análise sobre a relação entre teatro e educação escolar, a qual indaga de que maneira, nessa relação, o teatro encontra-se rebaixado em seu potencial de contato com a realidade e de crítica a ela. Da análise das quatro obras selecionadas é possível depreender que o teatro encontra-se instrumentalizado, tendo em vista que as atividades de ensino de teatro têm ido ao encontro de uma educação afirmativa da ordem vigenteThis study is about the insertion of theater in the educational field, and it considers the crossing through of theater by the school, as well as the movements that permeate the history of theater. Based on the critical theory of society developed by Theodor Wiesengrund Adorno, it is understood that theater itself, as an artistic expression, is a way of knowledge. The works of art condense both the contradictions and the antagonism as antitheses of society as problems of their inner shape through their character of negativity, which reinforces art as criticism pertaining to the social reality. From that perception, it was explained how theater relates to the other school contents. To do so, four academic papers about theater and education were selected among the theses and dissertations done at Universidade de São Paulo after the new National Education Bases and Guidelines Law was in force (the law has been ruling since 1996) and the National Curriculum Parameters were implemented (1998). Both Theodor W. Adorno´s thoughts and the discussions in the selected papers help to understand the object of the present study, in an analysis of the relation of theater to education, which searches the way theater is lowered in its potential of contact with reality and criticism of it inside such relation. From the analyses of the four selected papers it is possible to infer that theater has been transformed into an instrument of education, for the teaching activities of theater have met the education of the ruling order
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Ouattara, Bourahima. "Adorno et Heidegger : une controverse philosophique." Paris, EHESS, 1996. http://www.theses.fr/1996EHES0009.
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L'objet de notre propos est de sortir heidegger de la contumace dans laquelle il s'est maintenu face a la critique virulente d'adorno. Nous avons retenu les moments majeurs de cette controverse unilaterale. Dans une premiere partie : heidegger, adorno et l'histoire de la philosophie, nous avons vu se constituer la dialectique negative par rapport a la dialectique classique en ce que cette dialectique negative peut avoir de convergences et de differences avec l'ontologie fondamentale. Ces philosophies de la difference ont culmine dans : l'achevement de la metaphysique en tant que dialectique de l'aufklarung (2eme partie). Aussi avons-nous degage les elements philosophiques de ces deux formes de critique de la modernite. S'emanciper de cette modernite totalitaire (adorno) semble etre le voeu de heidegger. Cependant, la ou heidegger affirme l'etre, la precisement se cristallise l'opposition adornienne : dialectique negative face a la question de l'etre : adorno versus heidegger (3eme partie). A l'etre politiquement situe et theologiquement remanie, adorno oppose l'autre dont la determination conceptuelle incombe a l'art et au potentiel ontologique qui recouvre ce dernier. Tout cela s'accompagne, nous semblet-il, d'un revirement qui attenue le propos adornien. En definitive, l'eloignement entre nos auteurs contient aussi leur proximite. C'est dire que les extremes se touchent sans se confondre.
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Waters, Benjamin (Ben). "Truth as art: Heidegger and Adorno." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/27993.
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The present work examines the meaning, plausibility and function of a truthaesthetic
determination of art, that is, of a philosophy that understands art in
terms of a supposed truth-bearing capacity. This question is to be answered in
two parts: firstly it is asked how truth would have to be conceived such that
art could at all be conceived as a bearer of truth; secondly, it is examined how
this truth conception is elaborated into a theory of art. The content of the
investigation has two sources: it lays out side by side what I understand to
be the two most current of the major truth-aesthetic theories of art, those of
Heidegger and Adorno.
The first part will show that both Heidegger and Adorno have an underlying
truth—conception according to which truth is predicated primarily of a
lived experience of the disclosure of the world, and only secondarily of valid
propositions or theories. Truth-content in the primary sense belongs here to
that through which the disclosure of the world occurs most fundamentally, or
to that which in some sense grounds the very possibility of world-disclosure.
In response to what they critique as a growing autocracy of the concept as
the medium of truth under conditions of modernity, they elaborate conceptions
which broaden, but also unfortunately subjectivize, the notion of truth.
Hegel’s paradigmatic truth-aesthetics argued that although art in its highest
function is a medium of truth, this is a function it can no longer fulfill in moder—
nity, because for us truth is necessarily conceptual. By calling into question the
autarchy of concepts, the radical truth-theories laid out in the first part attempt
to take the first step toward revoking the finality of this judgment. The second
step, as laid out in the second part, is to show how art can be conceived as
an alternate medium of truth, and here the truth-potential in art is conceived
as consequent to its mediate status between the sensuous and the conceptual.
Heidegger and Adorno offer on this basis, however, very different epochal conceptions
of what this truth in art is to achieve. For Adorno, the truth-content
of art intends to carry us beyond modernity toward a situation of reconciliation
for which modernity is the precondition and antecedent stage. For Heidegger,
the truth that happens in poetry is the setting up of a world, the founding
and new beginning of something radically other than modernity, the rebirth of
world which he conceives after the model of preSocratic Greece.
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Hooker, Richard. "The structures and significance of mimesis in Adorno's 'Aesthetic Theory'." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/14778.
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This thesis starts from the point of departure of asking why Aesthetic Theory is difficult to read. In answering this question it is argued that the difficulty of the work is a function of the unusual claims Adorno makes about the relation between art and philosophy, and that the presentation of these arguments exemplifies these claims. This complimentary relation between form and content has implications for the way Adorno can be understood as engaging the idea of mimesis. Aesthetic Theory should be understood as a theory of mimesis in modern art and as a mimetic work itself. Given this idea, the question of the readability of the work emerges as inseparable from the explicit claims Adorno makes for mimesis. If the work ultimately cannot be understood because Adorno does not define his concepts, or it is unexplainable for any other reason, then mimesis will be shown to be untenable. The issue of the readability of Aesthetic Theory is explored in the Introduction through a discussion of issues arising from the recent history of Adorno's reception. Particular attention is paid to the differences between critics who have emphasised the significance of the particular claims Adorno makes against those who emphasise his method. Chapter I rejects this distinction while it argues that the character of Adorno's writing is uneven, that is to say, Aesthetic Theory cannot usefully be read in a uniform way. Chapter I considers different aspects of this lack of uniformity and argues that the identity of Aesthetic Theory as 'philosophy' is often tenuous as it moves in and out of other modes of argument. Chapters 2 and 3 look at different aspects of the identity of Aesthetic Theory as philosophy. Chapter 2 explains the strategic significance of the work as a continuation of a tradition of philosophy from Hegel onwards. This tradition, it is argued, has explicitly understood the problem of philosophy as recognising itself as experience while it attempts to describe experience. Chapter 3 extends this theme into a consideration of philosophical form. If philosophy is understood as a mode of experience then its form as well as its content is significant. Through a consideration of Heidegger and Derrida, Chapter 3 examines the uniqueness of the philosophical form of Aesthetic Theory. Having made this distinction. Chapter 4 reads Aesthetic Theory as philosophical form, describing aspects of it as mimetic. Chapters 5 and 6 then give detailed readings of parts of Aesthetic Theory which are particularly relevant for an understanding of Adorno's theory of the mimetic potential of modern art. The concluding chapter argues that the internal consistency of Aesthetic Theory in its practice and definition of the crisis of mimesis in modernism has significant implications for the practice of art history and criticism of twentieth-century art.
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Moutot, Gilles. "Adorno, un matérialisme sans images." Montpellier 3, 2008. http://www.theses.fr/2008MON30065.
Full textAbstract:
Ce travail vise à dégager la spécificité du matérialisme d’Adorno. Dans cette perspective, on a pris comme point de départ la question de l’extension du fétichisme de la marchandise dans le capitalisme avancé. D’abord considéré à partir du dialogue mené avec Benjamin dans les années trente, ce thème apparaît vite comme un opérateur critique qu’Adorno mobilise, tout en le remaniant, dans les champs les plus divers : de l’esthétique au politique, en passant par l’épistémologie. Est ainsi matérialiste l’attention portée aux expériences de la non-identité. En sorte que l’enjeu de la pensée adornienne peut être schématiquement situé entre ces deux pôles : celui de la souffrance, exprimant une individuation mutilée par les normes de comportement qu’impose un mode de socialisation pathogène ; celui de l’expérience esthétique, où s’ébauche un rapport à la différence qui cesserait de mesurer celle-ci à l’aune de l’unité. C’est là formuler l’exigence d’une rationalité capable d’ajuster ses opérations au moyen d’une sensibilité à ce qu’Adorno nomme l’« expérience non réglementée ». Ainsi Adorno déploie une critique rationnelle de la raison instrumentale qui est pleinement originale. Par l’attention qu’elle accorde aux résonances – et aux dissonances – somatiques et psychiques des processus de subjectivation et des interactions sociales, elle met notamment en question les approches qui, à la suite de Habermas, se réclament avant tout des potentiels normatifs inhérents au langage et à la communication. En cela, la conception adornienne de l’auto-réflexion critique de l’Aufklärung conserve une actualité irréductible – car intempestiveThis work aims to present the specificity of Adorno’s materialism. To that end, the issue of how commodity fetishism extends itself in advanced capitalism provides our point of departure. First considered in the dialogue with Benjamin in the 1930’s, this theme quickly appears as a critical instrument that Adorno uses, even as he refashions it, in a wide variety of fields: from aesthetics to epistemology to politics. So it is that the attention devoted to experiences of non-identity is materialist. Consequently, what is at stake in Adorno’s thought may be schematically set between two poles: that of suffering, which bears witness to an individuation damaged by the behavioral norms of a pathogenic socialization process, and that of aesthetic experience, wherein there emerges a relationship to difference as no longer measured against unity. This amounts to requiring that rationality be able to adjust its operations by means of sensitiveness to what Adorno calls “unregimented experience”. Thus, Adorno develops a rational critique of instrumental reason that is fully original. By paying attention to the somatic and psychological resonances – and dissonances – of subjectivation processes and social interactions, this critique particularly questions approaches that, following Habermas, claim to derive from the normative potential supposedly inherent in language and communication. Adorno’s call for the Enlightenment to subject itself to critical self-reflection maintains its implacable actuality – because it is so untimely
Books on the topic "Adorno (1903-1969)"
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Adorno: The recovery of experience. Albany: State University of New York Press, 2007.
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Brunkhorst, Hauke. Adorno and critical theory. Cardiff: University of Wales Press, 1999.
Find full textBook chapters on the topic "Adorno (1903-1969)"
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Müller-Jentsch, Walther. "Theodor W. Adorno (1903 – 1969)." In Klassiker der Soziologie der Künste, 351–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-01455-1_16.
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McArthur, Jan. "Theodor Adorno (1903–1969): Restless, Fractured and Uncomfortable Thought." In Debating Higher Education: Philosophical Perspectives, 27–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-31061-5_3.
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Morrissey, Lee. "Theodor Adorno (1903–1969) from “Commitment: The Politics of Autonomous Art,” New Left Review (1962)." In Debating the Canon: A Reader from Addison to Nafisi, 71–72. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-04916-2_13.
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Stoner, Alexander M., and Andony Melathopoulos. "Theodor W. Adorno (1903–1969) and the Critique of Identity Thinking: The Great Acceleration as Historical Sedimentation." In Freedom in the Anthropocene, 48–72. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137503886_4.
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Barber, Daniel Colucciello. "Theodor Adorno (1903–1969)." In Religion and European Philosophy, 127–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315642253-12.
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Müller-Doohm, Stefan, Roman Yos, and Daniel Steuer. "Theodor W. Adorno (1903–1969)." In The Cambridge Habermas Lexicon, 475–78. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316771303.125.
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"ADORNO, THEODOR WIESENGRUND (1903–1969)." In Cultural Theory: The Key Thinkers, 1–3. Routledge, 2005. http://dx.doi.org/10.4324/9780203996423-1.
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Richter, Gerhard. "Walter Benjamin (1892–1940) and Theodor W. Adorno (1903–1969)." In Aesthetics: The Key Thinkers. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350085589.0020.
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Lenhard, Philipp. "Lyrik eines Heimatlosen: Theodor W. Adorno (1903–1969), Heinrich Heine und der Deutsch-jüdische Parnass." In Jüdische Wissenskulturen und Allgemeine Literaturwissenschaft, 103–16. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110708110-006.
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Surin, Kenneth. "The Frankfurt School, the Marxist Tradition, Culture and Critical Thinking: Max Horkheimer (1895-1973), Herbert Marcuse (1898-1979), Theodor Adorno (1903-1969), Jürgen Habermas (1929-)." In Introducing Literary Theories, 158–67. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-021.
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