Dissertations / Theses: 'Adorno, Theodor Wiesengrund, 1903-1969'

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Ryan, Marie-Noëlle. "Penser l'art depuis les avant-gardes : problèmes de l'esthétique contemporaine après Adorno." Paris 1, 1994. http://www.theses.fr/1994PA010620.

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Il s'agit d'une discussion des développements récents de l'esthétique contemporaine qui tente de tenir compte des conséquences théoriques de l'avènement des avant-gardes historiques et de leurs revendications, notamment à l'égard d'une fonction cognitive de l'art. Ces revendications, ainsi que la diversification extrême des productions artistiques, obligent à un réaménagement en profondeur des catégories traditionnelles de l'esthétique. C'est dans cette perspective que j'examine et critique les thèses d'un certain nombre de théoriciens (Burger, Danto, Bubner, Lyotard), pour ensuite aborder l'esthétique d'Adorno, qui me parait offrir certains avantages théoriques, malgré les limites que la perspective critique de sa réception actuelle oblige à considérer, qui empêchent de rendre compte de la diversité et de la légitimité respectives des enjeux artistiques. Je tente néanmoins de défendre l'idée d'une "lecture immanente" fondée sur l'analyse de l'articulation formelle des œuvres et des implications théoriques que cette dernière engage, ce que le concept adornien de matériau permet précisément d'envisager. C'est pourquoi ce concept me parait constituer un élément essentiel à toute esthétique qui tenterait de penser et d'assumer les conséquences de la modernité pour la production et la réception artistiques
The objet of this thesis is to discuss recent developments in contemporary aesthetics, while taking account of the theoretical consequences of the avant-gardes and their claims, with special attention to the cognitive function of art. These claims, and the extreme diversity of artistic production requires a profound reassessment of the traditional categories of aesthetics. I propose a critique of the theses of a number of theoreticians (burger, danto, bubner, lyotard) in order to throw light on adorno's aesthetics, which appear to offer certain theoretical advantages in spite of their limitations, brought to light by recent analyses of his work, limitations that fail to account fully for the diversity and legitimacy of artistic endeavour. Nevertheless, i attempt to defend the idea of an "immanent reading" based on an analysis of the formal articulation of works of art and their theoretical implications, for which adorno's concept of material is particularly apt. This concept appears to constitute an essential element in an aesthetic that claims to adequately think and come to terms with the consequences of modernity for artistic production and reception

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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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Moutot, Gilles. "Adorno, un matérialisme sans images." Montpellier 3, 2008. http://www.theses.fr/2008MON30065.

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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 intempestive
This 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

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Zurletti, Sara. "Le concept de matériau musical chez Th. W. Adorno." Paris 8, 2002. http://www.theses.fr/2002PA082105.

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Ce travail démontre comment l'esthétique musicale adornienne est fondée essentiellement sur la notion de matériau musical. Dans la première partie, nous expliquons que cette notion ne concerne pas quelque chose de matériel, de concrètement présent dans la composition musicale : le matériau musical est en effet, chez Adorno, un dispositif abstrait et commun qui sert aux compositeurs pour la structuration du sens en musique. Ainsi, démontrons-nous que la musique est conçue selon l'hypothèse de "ressemblance au langage", et que le matériau agit dans son esthétique comme le code universel de la communication musicale. En ce sens, il coi͏̈ncide avec la notion de "tonalité". Dans la deuxième partie, nous arrivons à voir comment l'esthétique adornienne, à partir de cette notion fondamentale de "matériau", est centrée sur le Classicisme et, plus précisément, sur la figure de Beethoven. Cela va re-contextualiser la pensée d'Adorno dans le sens d'une pensée musicale structurée autour de la tradition classico-romantique. Dans la dernière partie, nous nous occupons de la nouvelle musique et de la deuxième avant-garde, et donc du problème du Progrès en musique : l'achèvement de la rationalisation interne de la musique - L'Aufklärung musicale - se révèle en fait selon Adorno fatal à la musique comme il l'est déjà à la réalité historico-sociale. . .

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Freitas, Nivaldo Alexandre de. "Algumas relações entre arte e psicanálise a partir da teoria crítica." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-06082006-151725/.

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Esta pesquisa aponta alguns limites da interpretação da arte realizada por Freud, principalmente em seu ensaio Dostoiévski e o parricídio, a partir do referencial teórico da Escola de Frankfurt. O ponto central dessa crítica é a excessiva ênfase dada ao artista na elaboração de sua obra, ignorando os demais elementos que a compõem. Procura-se pensar sobre a sublimação em Freud, suas limitações para descrever a arte do século XX, e a tentativa de Adorno em elaborar um novo conceito de expressão. Ainda partindo desse autor, sua análise da obra de Kafka fornece uma compreensão dos diversos momentos que a constituem, como o papel do artista e o que vai além dele, análise que ajuda a pensar as limitações da interpretação de Freud sobre Dostoiévski. Por fim, a reflexão acerca da relação entre arte e psicanálise permite entender que esta última pode trazer luz à compreensão da arte, mas pode também obscurecer certos aspectos importantes de uma obra, que são deixados para trás como superados pelo avanço da ciência.
This research points some limits of the interpretation about art realised by Freud, mainly in his essay Dostoiévski and parricide, starting from the theoretical reference of Frankfurts School. The central point of that critic is the excessive emphasis given to the artist in the elaboration of his work, ignoring other elements that compose it. It tries to promote a reflection about sublimation in Freud, his limitations to describe the art of the 20th century, and Adornos attemption in elaborate a new expression concept. It was also considered the authors analysis of Kafkas work, what allow a comprehension of several moments that constitute his work as the artists function and what goes besides him, analysis that help to think about the limitations of Freuds interpretation of Dostoiévski. Finally, the reflection about the relationship between art and psychoanalysis allows to understand that last one can bring light to the understanding of the art, but it can also obscure some important aspects of a work, that are left back as overcome by the science progress.

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Fagundes, Adriano Bier. "Imagens a partir da vida danificada : cinema em ensaios constelares." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55424.

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O presente trabalho consiste na investigação da idéia de “vida danificada” a partir de sua potencial expressão no campo do cinema. Vida danificada – beschädigten Leben – é um termo empregado por Adorno no subtítulo de uma de suas mais importantes obras, Minima Moralia, escrita nos anos 40, ainda antes do término da Guerra, e publicada em 1951. Nela, o autor, um dos representantes da Escola de Frankfurt, oferece um olhar preciso, ao mesmo tempo que assustador, sobre as diversas facetas de nossa cultura e sobre os mecanismos que levaram nossa sociedade a chegar ao estágio que chegou durante o período sombrio da escrita do livro. A idéia de vida danificada não cabe na categoria de conceito, e em nenhum momento Adorno refere-se a ela para delinear uma definição precisa. Simultaneamente, ele lança mão de imagens, cenas e outros tipos de expressões, no labirinto do pensamento, para fazer o texto operar suas idéias da forma mais esteticamente adequada e verdadeira possível. O objetivo do trabalho que se apresenta aqui é justamente, seguindo a esteira do pensamento de autores como Adorno e Benjamin, explorar a idéia de vida danificada, procurando compreender que relação isso tem com a forma como vivemos na contemporaneidade, perante as urgências de nosso tempo e as demandas da cultura. Para tanto, o cinema foi tomado como ferramenta, como lugar possível de encontro com as imagens que surgem a partir da vida danificada. Após uma longa etapa meditativa, onde foram observados centenas de filmes, três foram escolhidos, com o intuito de que se pudesse tecer comentários pertinentes ao cerne da pesquisa: “O Eclipse” [L’Eclisse] (1962), de Michelangelo Antonioni; “O Desprezo” [Le Mépris], de Jean-Luc Godard (1963); e “Um Homem Sério” [A Serious Man], de Joel e Ethan Coen (2009). Cada um dos três filmes foi tomado na sua singularidade e, a partir deles, foram compostos três ensaios, respectivamente, onde foi possível explorar questões de importância ética e estética, tanto imanentes aos filmes, quanto em relação ao conjunto das obras de seus respectivos autores. A opção pelo ensaio enquanto política de apresentação justifica-se pelo fato de ele constituir-se como gênero de escrita consoante com os propósitos desta pesquisa. O ensaio é um texto que se admite como inconcluso, fruto do esforço de lançar-se rumo a um país estrangeiro de idéias, em movimento de errância. A noção de constelação, que Benjamin empregará com destaque no prefácio epistemológico-crítico de “Origem do Drama Barroco Alemão”, também permeia este estudo, funcionando como pressuposto metodológico, produzindo a força de aproximar, pela escrita ensaística, idéias que habitam a mesma órbita. Dessa forma, temas discutidos ao longo do trabalho, como errância, mal, pensamento, incomunicabilidade, expressão, tradução e nostalgia, auxiliam a compor o que se acredita ser ao menos a centelha de imagens desenhadas a partir da vida danificada.
The present work consists on the search of the idea of “damaged life” from its potential expression in the field of cinema. Damaged life – beschädigten Leben – it’s a term employed by Adorno in the subheading of one of his most important works, Minima Moralia, written in the 40’s, yet before the end of the War, and published in 1951. On it, the author, one of the representatives of the Frankfurt School, offers a precise look, as well as frightening, on different aspects of our culture and on the devices that lead our society to the stage it arrived during the haunting period of the writing of the book. The idea of damaged life doesn’t fit in the category of a concept, and Adorno never refers to it to outline a precise definition. Simultaneously, he applies uses of images, scenes and other kinds of expressions, in the maze of thought, to make the text accomplish his ideas the most aesthetically proper and truest way possible. The goal of the work that it is presented here is precisely, following the step of thought of authors as Adorno and Benjamin, to explore the idea of damaged life, pursuing to understand its relationship to the way we live nowadays, facing the urgencies of our time and the demands of culture. Being so, cinema was taken as a tool, as an eventual place of encounter with the images from damaged life. After a long, meditative, stage, where hundreds of films were observed, three were chosen, with the purpose of composing commentaries fitting to the core of the research: “Eclipse” [L’Eclisse] (1962), by Michelangelo Antonioni; “Contempt” [Le Mépris], by Jean-Luc Godard (1963); and “A Serious Man” (2009), by Joel and Ethan Coen. Each of the three movies was taken in its singularity and, coming from them, three essays were composed, one for each movie, where it was possible to explore questions of ethical and aesthetical importance, both immanently to the films, as in relation to the ensemble of work from its concerning authors. The choice towards the essay as a politics of presentation it is justified by the fact that it is constituted as a writing genre consonant with the purposes of this research. The essay it is a text that recognizes itself as inconclusive, product of the effort of throwing oneself to a country that is foreign in ideas, in a wandering movement. The notion of constellation, which Benjamin will employ underliningly in the epistemological-critic preface of “Origin of German Tragic Drama” also pierces this study, functioning as a methodological key, producing the force of bringing together, through essayistic writing, ideas that inhabit the same orbit. This way, themes discussed throughout this work, as wandering, evil, thought, incommunicability, expression, translation and nostalgia aid to arrange what it is believed to be at least the spark of images drawn from damaged life.

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Pinheiro-Safatle, Vladimir. "La passion du négatif : modes de subjectivation et dialectique dans la psychanalyse lacanienne." Paris 8, 2002. https://octaviana.fr/document/184929865#?c=0&m=0&s=0&cv=0.

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L'objectif de cette thèse est de discuter le programme de rationalité qui structure la psychanalyse lacanienne à partir d'une perspective dailectique qui tient en compte la dialectique négative d'Adorno. La proximité entre dialectique négative et clinique lacanienne porte sur la place centrale donnée à la théorie des négations dans la structuration des processus de subjectivation. Selon Lacan, les protocoles de cure analytique demandent la subjectivation d'un mode de négation qui ne soit pas indication d'un non-être, rejet hors de soi de ce qui porte atteinte au principe de plaisir (Verwerfung), dénégation (Verneinung), auto-négation de l'énoncé (Verleugnung), mais qui soit mode de présence du Réel. Il n'y a pas de cure que là où il y a la reconnaissance de la négation comme manifestation du Réel. La clinique lacanienne a donc besoin d'une négation ontologique qui se manifeste surtout dans la sublimation et dans la traversée du fantasme. Elle est le noyau de la dialectique négative avec son projet d'auto-critique. Mais Hegel avait déjà fournit ce protocole de nouage pour autant que la dialectique est l'expérience de déphasage entre désignation et signification dans l'acte de parole. En ce sens, l'originalité d'Adorno et de Lacan consiste plutôt à comprendre que la reconnaissance d'une négation ontologique ne peut se donner qu'à l'écart des processus de symbolisation, de remémoration et de conceptualisation. D'où le projet lacanien de penser la clinique à partir de processus non-conceptuels de formalisation comme le mathème et le lettre. D'où le projet adornien de voir la formalisation esthétique comme porteuse d'un contenu de vérité. Cette démarche montre les limites des opérateurs de symbolisation analytique comme le Phallus et le Nom-du-Père, fournit une pensée de l'éthique au-delà de la détermination transcendantale de la volonté et ouvre un champ nouveau pour l'articulation entre esthétique et psychanalyse
The purpose of this thesis is to analyze the program of rationality which structure the lacanian psychoanalysis from a dialectical perspective taking into consideration Adorno negative dialectic. The similarity between lacanian clinic and negative dialectic has to do with the importance given to the theory of negations in the processes of structuring subjectivation. According to Lacan, the analytic cure demands subjectivation of a mode of negation which is not a indication of a non-being, a rejection out of the ego from that which goes against the principle of pleasure (Verwerfung), denegation (Verneinung), self-denial of the utterance (Verleugnung), but which is a type of presence of the Real. There is cure only when there is recognition of the negation as an expression of Real. The lacanian clinic, then needs a ontological negation which appears monstly in sublimation and the traverse of the fantasy. It is the core of the negative dialectics with the project of self-critic of the concept. However, Hegel was already aware of this articulation , since dialects is based in the discrepancy between designation and meaning in the speech act. In this sense, Adorno's and Lacan's originality consists of understanding that recognition of an ontological negation only occurs apart from the processes of symbolization, remembrance and conceptualization. From there comes the lacanian project: to structure the clinic from non-conceptual processes of formalization like the mathème and the lettre. From there comes the Adornian project: to consider the aesthetic formalization as support of a content of truth. This perspective shows the limits of analytic symbolization's operators (such as the Phallus and the Nome-of-the-Father) provides an ehtical thinking beyond the transcendental determination of will and opens a new filed for the articulation between aesthetics and psychoanalysis

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Oliveira, Lopes Luis Sergio de. "Causalité et liberté : implications juridiques de l'esthétique d'Adorno." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0126.

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Orientée par l'esthétique, la pensée d'Adorno se pose comme la philosophie de la critique de la raison identificatrice, voire de la raison mise à jour notamment par l'idéalisme subjectif de Kant et par l'idéalisme objectif de Hegel, pour lesquels le particulier n'est qu'un produit de l'universel. Or, plus que tributaire de cet idéalisme, la philosophie juridique se révèle comme le véritable schéma de la pensée bourgeoise, en tant que pensée de la domination de l'universel sur le particulier. Extrêmement répressive, aussi bien sous la forme du jusnaturalisme que sous celle du positivisme, la philosophie du droit ne se pose qu'en tant que philosophie de la non-liberté. À partir de la pensée d'Adorno une philosophie juridique n'est possible qu'en tant que philosophie différentielle, qui plus est une philosophie de la non-identité entre l'universel et le particulier, mieux, une philosophie de l'aporie entre causalité et liberté. De ce fait, cette philosophie doit être orientée par l'esthétique matérialiste, laquelle, selon Adorno, se montre comme le modèle le plus complexe du rapport dialectique entre l'universel et le particulier, voire un rapport sans synthèse, où la souffrance de l'individuel est mise en communication avec la norme. Cette philosophie juridique différentielle, en tant que souvenir permanent de l'état de souffrance du particulier n'est rien d'autre que la condition de possibilité de l'établissement d'une pratique fondée dans la paix, qui plus est la communication dans la différence. Cela étant, la philosophie juridique devient, contre la tradition, une philosophie théorique que doit porter la conscience plus rigoureuse des antagonismes à trois niveaux, à savoir le niveau négatif (l'expérience), le niveau subjectif (jugement) et le niveau objectif (l'oeuvre)

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Deville-Cavellin, Vincent. "Les totalités impossibles : formes modernes du montage dans le cinéma d'avant-garde contemporain." Paris 1, 2009. http://books.openedition.org.ezproxy.upf.pf/pur/76956.

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A l'opposé du montage transparent élaboré par le cinéma classique, se sont développés dans le cinéma d'avant-garde des formes de montage qui reposent sur une affirmation du discontinu et de I' hétérogène. Notre étude, nourrie de la réflexion de Theodor W. Adorno sur les concepts de dislocation et de dissonance en art, se propose d'interroger ces formes marquées par le fragment, et ainsi dotées de vertus critiques à l'égard des totalités classiques. Nous analyserons comment les conceptions du montage mises au point dans les années 1920 par Eisenstein et Vertov sont prolongées par les cinéastes d'après 1945 (Stan Brakhage, Jonas Mekas, Paul Sharits. . . ) et comment se poursuit leur évolution jusqu'à nos jours. Avec leurs films, le (dé)montage se propage à toutes les dimensions du cinéma (récit, figuration, structure et dispositif), illimitant les formes et les ouvrant aux principes de non-fini et d'infini.

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Jurado, Thamara Moretti Soria. "Música e negatividade." Universidade Federal de São Carlos, 2007. https://repositorio.ufscar.br/handle/ufscar/4880.

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This dissertation intends to investigate Adorno s analysis concerning Beethoven s late style in the attempt of understanding the importance delegated to this composer s works, which led Adorno to identify it with the beginning of a process that would culminate in Schoenberg. For doing that, we will use these comprised fragments in Beethoven s work: the philosophy of music, in special The Style I and II .
A presente dissertação procura investigar as análises de Adorno acerca do estilo tardio de Beethoven na tentativa de compreender a importância delegada às obras deste compositor que levaram Adorno a identificá-lo com o início de um processo que culminaria em Schoenberg. Para tanto, utilizaremos os fragmentos compreendidos na obra Beethoven: the philosophy of music, em especial The Style I e II .

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Boissière, Anne. "Adorno et la modernité musicale : les analyses immanentes des oeuvres de Mahler et de Berg." Paris 1, 1995. http://www.theses.fr/1995PA010541.

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Dans ses analyses des œuvres de Mahler et de Berg, Adorno définit du point de vue de son esthétique philosophique de l'art moderne, la norme concrète et immanente justifiant communément l'idée de la qualité de ces musiques. Il nous propose ainsi le critère à partir duquel il pose le modèle d'une musique informelle, c'est-à-dire l'idéal de la musique moderne critique au nom duquel il juge la production musicale avant-gardiste de l'après seconde guerre mondiale. Dépassant la stricte considération de la loi historique du progrès du matériau, il construit ici une esthétique négative de la modernité qui est centrée sur le problème de l'expression musicale, dans l'examen de la loi compositionnelle de l'œuvre. Cette loi est qualifiée d'"épique" a proportion de la dialectique réalisée, dans l'œuvre, n’être un matériau régressif et l'unité d'une forme processuelle et temporelle
In his analysis of Mahler's and Berg's works, Adorno defines the concrete and immanent form which commonly justifies the idea of the quality of these musics. From the point of view of this philosophical aesthetics of modern art, he gives the criterion which provides him the model of an informal music - that is the ideal of critical modern music in the name of which he assesses the post-war avant garde production. He no longer confines himself to the historical law concerning the prgress of the material but devises a negative aesthetics of modernity centred upon the question of musical expression, by examining the internal dynamics which governs the composition of the work. Such a dynamcis is termed "epic". It is the dialectic between a regressive material and the unity of a temporal form in progress

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Jappe, Anselm. "La critique du fétichisme de la marchandise chez Marx et ses développements chez Adorno et Lukács." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0020.

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Quelle est la signification du concept de "fetichisme de la marchandise" chez marx ? l'analyse philologique de tous ses ecrits concernant la critique de l'economie politique demontre que marx ne critique pas les fausses representations de la realite capitaliste, mais l"'inversion reelle" causee par la valeur : toute l'activite sociale prend la forme de son contraire, la valeur. Il s'agit d'une veritable "faussete ontologique". Selon cette interpretation, on ne trouve pas au centre de l'oeuvre de marx la notion de lutte de classe, mais la critique des categories pseudo-naturelles qui sont a la base de la socialisation capitaliste : la marchandise, l'argent, la valeur, le travail abstrait. Cette interpretation mene donc a une critique du marxisme traditionnel et a la mise en question de la glorification du travail. Dans cette perspective sont discutees les oeuvres d'auteurs marxistes peu connus en france tels que krahl, kurz, postone, rosdolsky, sohn-rethel, mais aussi roubin et le jeune lukacs. La dialectique n'apparait plus comme une loi de tout devenir, mais comme la description appropriee de la realite capitaliste. Celle-ci se developpe necessairement a partir de sa "cellule germinale": la structure de la marchandise. Ce fait demontre l'urgence d'une interpretation "logique" et non seulement "historique" du capitalisme. La deuxieme partie de la these examine les contributions de theodor adorno et de georges lukacs a cette "critique de la valeur" et leurs limites, en demontrant que chez eux manque une veritable distinction entre nature et societe. Cela implique des incomprehensions a l'egard de la theorie marxienne de la valeur. Leurs theories esthetiques, opposees entre elles, sont examinees a partir de leurs jugements portes sur balzac et le "realisme", pour conclure qu'elles ne tiennent pas assez compte des consequences auto-destructrices amenees par la logique de la marchandise. C'est ici que les theses de guy debord sur la fin de l'art s'averent utiles. Il parait donc necessaire de partir de la theorie du fetichisme, elargie au champ anthropologique, pour arriver a une nouvelle theorie de la relation entre la culture et la societe basee sur la valeur.

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Malki, Yara. "Reflexões sobre os testes psicológicos a partir da Teoria Crítica da Sociedade." Universidade de São Paulo, 2000. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-21052007-150153/.

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Este trabalho examina os testes psicológicos, especialmente em sua relação com a educação, à luz da Teoria Crítica da Sociedade, tanto a partir de seus conceitos internos como das condições sociais e históricas que possibilitaram sua criação. Duas análises são fundamentais, ambas baseadas em Horkheimer e Adorno: primeiro, a da contradição histórica do movimento da razão ocidental, examinada a partir da Dialética do Esclarecimento; segundo, do emprego de métodos estatísticos e tipológicos em pesquisas nas ciências humanas. Como resultado da reflexão, concluiu-se que o conflito entre métodos quantitativos e qualitativos na psicologia mostra-se falso, pois servem para fins diferentes. A "naturalização", a tipologização e a indiferenciação do homem no mundo moderno não devem ser atribuídas aos testes psicológicos. Estes carregam em si a contradição do esclarecimento, de servir à humanidade e ao mesmo tempo à sua barbarização. Apresentam-se nesta dissertação, ainda, alguns autores críticos aos testes e, como ilustração, uma pesquisa bibliográfica sobre os testes em dois periódicos brasileiros educacionais e dois psicológicos. Verificou-se que os testes são empregados e criticados predominantemente aderidos a seus aspectos regressivos, sem que se pudesse pensar sua transcendência, apesar das mudanças observadas na psicometria atual.
This work examines psychological tests, especially in their relation with education, from the Critical Theory of Society standpoint, considering their internal concepts as well as historic conditions that allowed their creation. Two analysis are fundamentals, both based on Horkheimer and Adorno: first, the historical contradictions of the western ratio movement, examined from the Dialectic of the Enlightenment; second, the employment of statistical and typological methods on research. As a result, it was concluded that the conflict between quantitative and qualitative methods is shown equivocated since they serve different purposes. Man´s "naturalization", typologization and indiferenciation in the modern world cannot be attributed to psychological tests. These ones carry within themselves the contradiction of the enlightenment, of serving the humanity and at the same time its barbarization. It is still presented in this thesis some critical authors to the tests, and as illustration, a bibliographic research about tests obtained from two educational Brazilian journals and two psychological ones. It was verified that tests are employed and criticized mainly linked to their regressive aspects without possibilities of thinking their transcendence, despite changes observed in present psychometry.

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Romeiro, Artieres Estevão. "Dialética negativa, teoria estética e educação: experiência formativa e racionalidade estética em Theodor W. Adorno." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/2358.

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This study aims at analyzing the links between philosophy and art in the development of an emancipatory education. This theme is justified by the need to promote in society an education that, in fact, leads to emancipation, and not the reification of technical knowledge. If, in Dialectic of Enlightenment, Adorno and Horkheimer denounce the technical rationality and demonstrate how such a paradigm leads to barbarism, which rationality can lead to emancipation? Seeking answers to such problem, three studies were carried out. The first deals with the erudition and technical rationality in the context of cultural industry. The second investigates the Negative Dialectics and the effort to overcome the reductionism of identity through concepts constructed in a dissonant and constellatory way. Finally, the third turns to the Aesthetics Theory and investigates the negative and liberating potential of art that consolidates an aesthetic rationality. The three studies originate from a bibliographic research that resulted in a text that sought to approach the essay form, coherently with Adorno s negative epistemological proposal. The three parts articulate categories towards proposing an emancipatory rationality through art, which we will call aesthetic rationality; alternative way to overcome the latent barbarism in technical rationality.
O presente trabalho tem por objetivo analisar as articulações entre filosofia e arte no desenvolvimento de uma formação emancipatória. Tal tema justifica-se pela necessidade de promover na sociedade uma educação que de fato conduza à emancipação e não à reificação dos saberes. Se na Dialética do Esclarecimento Adorno e Horkheimer denunciam a racionalidade técnica e demonstram como tal paradigma conduz à barbárie, qual a racionalidade capaz de conduzir à emancipação? Buscando respostas a tal problema, foram realizados três estudos. O primeiro versa sobre a semiformação e racionalidade técnica no contexto da indústria cultural. O segundo investiga a Dialética Negativa e o esforço de superação do reducionismo da identidade por meio de conceitos construídos de forma dissonante e constelatória. E o terceiro volta-se para a Teoria Estética e investiga o potencial negativo e libertador da arte que se consolida numa racionalidade estética. Os três estudos são frutos de pesquisa bibliográfica que resultaram em um texto que buscou se aproximar da forma ensaio, por coerência à proposta epistemológica negativa de Adorno. As três partes articulam categorias rumo à proposição de uma racionalidade emancipatória por meio da arte, a que chamaremos de racionalidade estética; caminho alternativo para a superação da barbárie latente na racionalidade técnica.

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Schaefer, Sergio. "A teoria estética em Adorno." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49667.

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O presente trabalho procura acompanhar a proposta modelar de Theodor W. Adorno, formulada de modo ensaístico e paratáxico na Teoria estética. Visa compreender esse modelo de pensamento, sua atualidade como manifesto crítico e como possibilidade de construção cognitiva não mais voltada a uma racionalidade que se sobrepõe às particularidades do objeto do conhecimento, reprimindo-as em favor da soberania do sujeito. Busca esclarecer como o estético, em Adorno, tornou-se um experimento teórico para apresentar objetos sociais e históricos – as obras de arte – que resistem ao jogo do valor de troca e que, por meio de uma linguagem enigmática e de uma perspectiva utópica, propõem mudanças para o atual estado de coisas. Pretende, ainda, mostrar que a Teoria estética superou os traços desesperançosos e pessimistas que marcavam o discurso de Adorno: a razão humana não está destinada a reprimir-se e a reprimir a natureza e os homens. A obra de arte resiste e, ao resistir, nega. Ao negar, propõe algo que não existe, um não-idêntico, algo que não se sabe o que é. O desejo de algo novo, liberto do peso totalizador da Aufklärung, atravessa a Teoria estética.
This paper is an attempt to study Theodor W. Adorno‟s model proposition formulated in an essay-like and parataxic-like model in his Ästhetische Theorie. The paper pursues a better understanding of Adorno´s thought model, its today‟s actuality both as a criticism manifest and as a possibility of cognitive construction no longer dependent on a rationality that supersedes the particularities of the object under study, inhibiting them in favour of the subject‟s sovereignty. The paper also tries to make it clearer how the concept of esthetics, in Adorno, has become a theoretical experiment to present social and historical objects – works of art – that do not yield vis-a-vis the exchange value game and which, by means of an enigmatic language and of a utopic perspective, propose changes in favour of the present-day status quo. Besides, this paper also tries to show that Adorno‟s Ästhetische Theorie has overcome the hopeless and pessimistic traits that marked Adorno‟s discourse: human nature is not bound to repress itself and to repress nature and men. A work of art resists and, upon resisting, it denies. Upon denying, it proposes something that does not exist, something non-identical, something one does not know what it really is. A desire for something new, free from the totalizing weight of the Aufklärung permeates the Ästhetische Theorie.

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Noppen, Pierre-François. "Marx, Horkheimer, Adorno et le projet d’une théorie post-hégélienne de la dialectique." Paris 4, 2007. http://www.theses.paris-sorbonne.fr/noppen/paris4/2007/noppen/html/index-frames.html.

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La thèse reconstruit le projet d’une dialectique tel que conçu par Karl Marx, entrepris ensuite par Max Horkheimer, puis développé en une forme plus complète par Theodor W. Adorno. Dans l’horizon philosophique ouvert par le projet marxien, nous présentons les composantes de la théorie dialectique, dont l’objet principal est le processus de la pensée critique ou, dans la terminologie hégélienne, le concept. La confrontation des deux voies privilégiées d’accès à l’objet permet d’articuler les possibilités insignes de cette théorie ; elle rend aussi manifeste la nature inextricablement métaphysique et, par conséquent, problématique, de son objet et montre comment celui-ci est perméable aux intérêts spécifiques qui traversent l’activité philosophique
The object of this dissertation is to reconstruct the project of a post-Hegelian dialectics as it was first conceived by Karl Marx, then developped by Max Horkheimer, and further achieved by Theodor W. Adorno. We present the components of this theory, which revolves essentially around one object : the process of critical thought, otherwise captured by Hegel in the notion of the concept. Confronting the two main paths purporting to give access to this object allows us to explore this theory’s innermost possibilities. It also reveals the inextricably metaphysical and, hence, problematic nature of the object and shows how it is permeated by the specific interests on which the various philosophical endeavors bear

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Tackels, Bruno. "Histoire d'aura. Benjamin, brecht, adorno, heidegger." Université Marc Bloch (Strasbourg) (1971-2008), 1994. http://www.theses.fr/1994STR20043.

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Des la premiere lecture du fameux essai de walter benjamin, l'oeuvre d'art a l'epoque de sa reproductibilite technique. J'ai percu une hesitation, un flottement, ou plutot un malaise a meme le texte. Au point que je n'ai jamais vraiment compris sur quoi se fondait sa celebrite. Je n'ai jamais vraiment pu me satisfaire des deux idees (parfaitement contradictoires9 qui structurent ce texte : la reproduction dans les oeuvres fait disparaitre l'art et l'on peut penser cette disparition comme un declin, le mal de l'occident. On en arrive donc a regretter l'age du "grand art" qui devrait etre imperativement restaure pour sauver l'humanite. Mais le texte permet aussi de lire cette disparition de l'art comme une chance (messianique) qui ouvre l'espace et le temps utopiques d'un monde nouveau, desenchaine. Ces deux visions contradictoires ne me paraissaient pas satisfaisantes ou, pour etre plus precis, il me semblait qu'a travers ces deux perspectives de lecture le texte disait tout autre chose : ni la nostalgie, ni l'utopie, mais une traversee de ces visions du monde, qui elabore une perspective veritablement politique. Cette intuition m'a donne l'idee de remonter aux sources du texte et de comparer les auatres versions successives que benjamin a

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Freitas, Nivaldo Alexandre de. "Reflexões acerca da psicanálise e da literatura no estudo do indivíduo com base na teoria crítica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-28062013-140958/.

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Esta pesquisa tem como objetivo expor a dificuldade que o psicólogo encontra para realizar um estudo sobre o indivíduo se não recorrer a outras esferas do saber além da ciência, como a arte, e mais especificamente, a literatura. Procura-se evidenciar que a ciência psicológica não abarca a descrição de muitos aspectos presentes na formação do indivíduo, mesmo a psicanálise freudiana, teoria considerada neste trabalho. Já a literatura pode fornecer tanto uma perspectiva histórica da cultura, como elementos que a própria razão não é capaz de apresentar. Nesse sentido, a literatura pode ser também crítica da ciência, pois tem condições de mostrar por que o inconsciente, por exemplo, se torna objeto de estudo científico somente a partir de um momento do capitalismo, quando as inúmeras mediações do capital estreitam o sentido da vida humana. A literatura permite entender como era o homem em outras épocas e, assim, ela fornece a medida das mudanças ocorridas no indivíduo, como sua perda de autonomia e dificuldade de formação. O exame dessas questões se baseia nas reflexões dos teóricos que compõem a Teoria Crítica da Escola de Frankfurt, notadamente Theodor W. Adorno e Walter Benjamin, filósofos que se utilizaram largamente da psicanálise freudiana em seus ensaios. Alguns aspectos do romance de Franz Kafka, O processo, são analisados nesta pesquisa. A leitura dessa obra de Kafka, concomitante à leitura de alguns textos de Freud, permite entender como era o indivíduo da época desses autores, bem como fornece subsídios de sua constituição. A pesquisa está dividida em três partes. Na primeira são expostos princípios teóricos para descrever a relação entre indivíduo e cultura e para entender como o trabalho do artista expõe sua realidade. No segundo momento, por meio de reflexões sobre O processo, busca-se mostrar como o romance é capaz de expor as dificuldades de existência do indivíduo. E por fim, a terceira parte procura discutir alguns limites da psicanálise freudiana e algumas relações dessa teoria com os achados da literatura. Este estudo não pretende propor a rejeição da ciência, mas sim contribuir para a reflexão sobre seus limites e, portanto, para a ampliação dos mesmos
The present research strives to discuss the difficulty to conduct a study of the individual without considering other areas of knowledge beyond science, such as art, and more specifically, literature. It tries to show that psychological science can not to understand many aspects which are present in the formation of the individual, including the Freudian psychoanalysis, theory considered in this work. Literature can provide both historical perspective as well as elements of the culture, which reason itself is not capable. In this regard, literature can also be cr itical of science because it is able to show why the unconscious, for example, becomes an object of scientific study only from a specific point of capitalism while the numerous mediations of the capital narrow the meaning of human life. Moreover literature allows us to understand how human being was in another period, and thus it provides a dimension of changes of the individual, such as loss of autonomy and difficulty of formation. The study of these issues is based on the theory of some thinkers who compound the Critical Theory of the Frankfurt School, especially Theodor W. Adorno and Walter Benjamin, philosophers who approached Freudian psychoanalysis in their essays. Some aspects of the novel by Franz Kafka, The Trial, are analyzed in this research. The reading of the work of Kafka together with some texts of Freud helps to understand how the individual of that period was, as well as, provides elements of their formation. The research is divided in three parts. First of all, theoretical principles are exposed to describe the relationship between the individual and culture and to understand how the work of the artist exposes his reality. Secondly, by thinking about The Trial, it seeks to show how modern novel is able to expose the difficulties of the individual existence. Finally, it discusses some limits of Freudian psychoanalysis and its relation to literature findings. This study does not intend to propose rejection of science, but rather contribute to the thinking and therefore broadening of its limits

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Buhlmann, Pierre. "La liberté de soi : enquête croisée sur l'attitude critique chez Adorno et Foucault." Thesis, Toulouse 2, 2020. http://www.theses.fr/2020TOU20009.

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Notre recherche doctorale entreprend une problématisation de la manière dont la constitution morale de soi est concevable aujourd’hui. L’exigence universelle que formule l’impératif catégorique kantien n’a guère cessé de valoir. Mais l’histoire a montré qu’il faut désormais réfléchir cette exigence morale contre elle-même. C’est pourquoi le présent travail cherche à comprendre les possibilités dont dispose tout sujet de se constituer en un soi capable d’un agir moral. Pour tenter de réfléchir la question de l’agir moral, nous croisons dans ce travail la pensée critique négative de Theodor W. Adorno avec les analyses généalogiques de Michel Foucault. Notre projet vise à comprendre les réflexions morales d’Adorno à la lumière des pratiques dans lesquelles la pensée foucaldienne permet de les plonger, ainsi que de dégager les implications philosophico-morales qui sous-tendent les derniers travaux de Foucault, et qui ne deviennent apparent qu’à la lumière des analyses adorniennes
Our doctoral research undertakes a problematization of the way in which the moral constitution of the self is conceivable today. The universal demand formulated by the Kantian categorical imperative has never ceased to be valid. But history has shown that it is now necessary to reflect this moral requirement against itself. This is why the present work seeks to understand the possibilities available to any subject to constitute himself as a self capable of moral action. In an attempt to reflect on the question of moral action, we cross the negative critical thinking of Theodor W. Adorno with the genealogical analyzes of Michel Foucault. Our project aims to understand Adorno's moral reflections in the light of the practices in which Foucauldian thought allows them to be immersed, as well as to identify the philosophical-moral implications which underlie Foucault's last works, and which do not become apparent only in light of Adornian analyzes

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Antunes, Deborah Christina. "Por um conhecimento sincero no mundo falso : Teoria Crítica, pesquisa social empírica e The Authoritarian Personality." Universidade Federal de São Carlos, 2012. https://repositorio.ufscar.br/handle/ufscar/4791.

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The present PhD dissertation discusses the relationship between the Critical Theory of Society and empirical social research as elaborated in the work of the Institute of Social Research of Frankfurt, particularly after 1931, during the period in which it was under the direction of Max Horkheimer. Thus, it investigates to what extent such a nexus considered part of this theory s immanent coherence can be found in the research carried out in the United States and published as The Authoritarian Personality. The first chapter is dedicated to the reconstruction of Horkheimer s notion of interdisciplinary materialism. The discussion is based on his inaugural lecture as the Institute director, and on his essays published during the 1930s. In the second chapter, the main empirical social research projects carried out by the Institute members, in Germany and in the United States, are presented. The third chapter is dedicated to Theodor W. Adorno, his critique of Sociology and his views about the accomplishment of empirical research in the scope of Critical Theory. The last chapter is dedicated to an analysis of The Authoritarian Personality, seeking connections between the theory and procedures and instruments, and also between theoretical elaborations on their results.
A presente tese discute a relação entre a Teoria Crítica da Sociedade e a pesquisa social empírica no Instituto de Pesquisas Sociais de Frankfurt, a partir de sua direção por Max Horkheimer, e investiga em que medida esse nexo considerado interno à teoria pode ser encontrado na pesquisa realizada nos Estados Unidos e publicada sob o título de The Authoritarian Personality. O primeiro capítulo é dedicado à reconstrução de ideia de materialismo interdisciplinar, proposto por Horkheimer, a partir de seu discurso inaugural como diretor do Instituto e de seus textos teóricos produzidos na década de 1930. No segundo capítulo, são apresentadas as principais pesquisas sociais empíricas realizadas pelos intelectuais do Instituto tanto na Alemanha, quanto no exílio americano. O terceiro capítulo é dedicado às críticas e reelaborações de Theodor W. Adorno a respeito de sua visão sobre a realização de pesquisas empíricas no âmbito da Teoria Crítica. O último capítulo é destinado às análises de The Authoritarian Personality, em busca de suas conexões com a teoria a partir tanto de seus procedimentos e instrumentos, quanto de suas elaborações teóricas a respeito de seus resultados.

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Genel, Katia. "Autorité et critique : l'approche interdisciplinaire de l'autorité dans la première École de Francfort." Rennes 1, 2010. http://www.theses.fr/2010REN1PH05.

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L'autorité est non seulement un thème de réflexion récurrent dans les écrits de Horkheimer des années 1930 et 40, mais elle est aussi l’objet important d’études empiriques collectives, menées par l'Institut de recherche sociale. La présente recherche s'attache à reconstruire la critique de l’autorité à partir du diagnostic posé par Horkheimer et des différentes analyses proposées par les penseurs de l’École de Francfort (Adorno, Fromm, Marcuse, Pollock et Benjamin, ou encore Neumann et Kirchheimer). Au croisement de la philosophie politique, de la sociologie et de la psychanalyse, la critique de l’autorité ouvre une perspective originale sur la question de la domination : elle est en quelque sorte la continuation de la critique politique de la domination par les moyens des sciences sociales. Elle permet aussi – sur un plan épistémologique – de mettre à l'épreuve le programme interdisciplinaire formulé par Horkheimer dès 1930. Partant du constat que l'autorité devient adaptation croissante aux faits socio-économiques, Horkheimer émet un diagnostic sur l'individu dans les conditions sociales du fascisme et de la culture de masse. Pour déployer les potentialités de cette critique de l'autorité, il faut remédier au défaut d’articulation des analyses et enrichir l’approche socio-psychologique et culturelle de l'autorité, qui a été privilégiée, par une approche plus politique, en prenant en compte les pistes ouvertes par les penseurs francfortois qui n'ont pas été retenues. Cela permet de sortir de la représentation caricaturale de la domination que l'on attribue à l'École de Francfort
Authority is not only a recurrent matter for thought in Horkheimer’s work in the 1930s and 40s, but also an important issue addressed by the collective empirical studies carried out by the Institute of Social Research. Our research sets out to reconstruct the critique of authority from Horkheimer’s diagnosis and the various analyses of Frankfurt School thinkers (Adorno, Fromm, Marcuse, Pollock and Benjamin, but also Neumann and Kirchheimer). Forming a junction with political philosophy, sociology and psychoanalysis, the critique of authority opens up an original perspective on domination: in a way, it represents the continuation of the political critique of domination via the social sciences. At an epistemological level, it also enables the interdisciplinary research programme developed by Horkheimer in 1930 to be tried and tested. Based on the observation that authority increasingly becomes an adaptation to social and economic facts, Horkheimer formulates a diagnosis of the individual in the social conditions of fascism and mass culture. In order to develop the potential array of this critique of authority, we need to compensate for the lack of connection of the analyses and enhance the prevalent socio-psychological and cultural approach to authority with a more political one that takes into account the paths outlined by Frankfurt School thinkers but which were not followed up. This approach makes it possible to break with the caricatural depiction of domination that is generally attributed to the Frankfurt School

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Laforge, Wilfried. "Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010594/document.

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Le présent travail se fixe pour objet d’étude l’effondrement des limites entre les arts au milieu des années 1960, son lien avec la naissance des avant-gardes et la chute du système des Beaux-Arts. En remontant un fil tendu par Adorno, nous verrons que celle-ci semble suspendre la dialectique de la raison en tant qu’elle met à mal la division de l’art en genres — pendant de la division du travail dans le monde administré. L’ensemble du processus étudié, que nous avons choisi de nommer dissolution des limites entre les arts, nous conduit à remonter en amont des événements liés à ce changement de paradigme, afin d’en repérer les éléments déclencheurs — lesquels semblent contenus, comme en germe, dans les motivations à l’origine de l’éclosion des avant-gardes. Croisant la lecture d’Adorno et de Greenberg, cette analyse cherche, pour ce faire, à isoler des moments structurants, dont certains apparaissent comme des résonances, des échos amplifiés des autres, comme une manière d’en accuser réception : le contexte des années dix, par exemple, dans lequel les constructions cubistes de Picasso font d’ores et déjà trembler les lignes de démarcation des arts en sortant de l’espace confiné de la toile pour visiter celui de la sculpture ; puis celui des années cinquante et soixante, marqué par la catégorie des Specific Objects de Judd, mais aussi par les œuvres de Morris et Rauschenberg. Notre analyse porte également sur les années qui ont suivi cet effondrement des frontières entre les arts et tente de suivre une perspective herméneutique, en empruntant une voie esquissée notamment par Adorno dans L’art et les arts, lequel a observé que cette tendance à « l’effrangement » a fini par jouer un rôle dans l’antagonisme entre le public et l’art contemporain — anticipant les débats qui eurent lieu bien après sa mort, et que l’on retrouve sous le terme de « crise de l’art contemporain » dans les années 1990. Cet axe de recherche nous amène à poser à nouveaux frais la question de l’autonomie de l’art, devenue problématique depuis le passage des Beaux-Arts à l’art, tout particulièrement au cœur de la réception anglo-saxonne de l’esthétique d’Adorno, auteur d’une définition de l’autonomie de l’art tout à fait singulière — paradoxale. Il s'agit donc de commencer à procéder à l’exégèse de textes anglais et américains, qui, remettant au travail cette problématique classique, entendent montrer que la définition qu’en propose Adorno reste opérante lorsqu’on la confronte aux œuvres d’art actuelles
This thesis is aiming at analyzing the link between the arts and between the art and what is extrinsic to art. The issue is to expand and refine Adorno’s analysis in his book The art and the arts. We will aim to provide a theoretical overview of the collapse of the artistic genres in the mid-sixties, and consider its link with the birth of French Avant-Garde and with the decline of the system of Fine Arts. The whole process that we would like to analyse starts with a mere imbrication of the arts, and reaches its culmination with a proper dislocation of its boundaries, as a result of successive stages that are locatable in the past. This will lead us to examine the stages before the outright collapse of artistic genres, to identify the triggers that ultimatly result in this paradigmatic change. Can we consider that the seeds of this dissolution are already planted in what led to the birth of the Avant-Garde? Is it reasonable to think that the postmodernity was already part of the modernity, as an inevitable shift which finds its fulfillment in the early sixties? Does the movement from the specific to the generic (de Duve) render the Adornian notion of Verfransung obsolete? What kind of “generic alterations” can we identify within the contemporary art? What is the status of non-art in regard to the Adornian negative dialectics? Can one consider that it represents a “stopped dialectics” — a moment of freedom in the dialectics of enlightenment? We will identify some structuring phases — some of which would appear as amplified echos of the others. We wish to continue our analysis from a hermeneutical perspective, and see how this dissolution has played a key role in the antagonism between contemporary art and the public. The issues related to the dissolution of boundaries between the arts will lead us to evaluate and interpret the Adornian arguments regarding the need for autonomy in art. Can we nowadays defend the idea of an autonomy of art? Is it then necessary to adapt its definition in the light of current works of art? Does the adornian conception of autonomy remain relevant? Can we consider that installation or performance perpetuate the exigences of modernism and create what could be called a new and “non-modernist" Avant-Garde?

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Desplat-Roger, Joana. "Le jazz comme résistance à la philosophie." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100066.

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Cette thèse de Doctorat propose de réfléchir sur la place du jazz dans la philosophie. Notre réflexion part du constat suivant : le jazz, qui apparaît comme un phénomène esthétique majeur du XXe siècle, a pourtant été « délaissé » par la philosophie qui lui a été contemporaine. Ce désamour de la philosophie à l’égard du jazz se mesure à deux niveaux : d’une part à la rareté des écrits philosophiques qui lui sont consacrés, d’autre part à la dureté du traitement qui lui a été généralement réservé. Mais alors, quel sens donner à ce silence « philo-phonique » sur le jazz ? Pourquoi les philosophes contemporains au siècle du jazz ne se sont jamais véritablement intéressés à sa dimension esthétique ? Et pourquoi n’ont-ils pas davantage porté attention à ses revendications politiques – et ce alors même que celles-ci ont donné lieu à de vifs débats dans les années 1960-1970 ?L’objectif de ce travail de recherche ne consiste pas à exposer des éléments conceptuels sur lesquels on pourrait faire reposer une philosophie du jazz, mais plutôt à faire émerger le sens philosophique de ce « rendez-vous manqué » entre le jazz et la philosophie. Car la philosophie, par le jazz, semble devoir se confronter à ce qui lui résiste : c’est donc bien l’échec philosophique en tant que tel qui est interrogé, à partir du cas du jazz
This doctoral thesis proposes to consider the place of jazz in philosophy. Our reflection starts from the following observation: jazz, which appears to be a major aesthetic phenomenon of the 20th century, has nevertheless been “neglected” by contemporary philosophy. This disenchantment of philosophy with jazz can be measured on two levels: on the one hand, the scarcity of philosophical writings devoted to it, and on the other hand, the harsh treatment that has generally been reserved for it. How are we to understand this “philo-phonic” silence on jazz? Why have contemporary philosophers in the jazz century never really been interested in its aesthetic dimension? And why didn’t they pay more attention to its political claims – even though these were hotly debated in the 1960s and 1970s?This research does not seek to lay the conceptual groundwork for a philosophy of jazz, but rather to come to a philosophical understanding of the “missed rendezvous” between jazz and philosophy. For philosophy, through jazz, seems to have to confront what resists it; therefore it is philosophical failure as such that is called into question by the case of jazz

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Wiser, Antonin. "Utopie de la littérature. La question littéraire dans l’œuvre de Theodor W. Adorno." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040111.

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La présente thèse se propose d’étudier la question de la littérature dans l’œuvre d’Adorno. Elle fait apparaître la fonction utopique que le philosophe attribue à la littérature en tant que celle-ci dessine l’horizon d’une « langue sans terre », ligne de fuite hors de la dialectique de la raison. Tandis que le discours philosophique a reproduit dans son appareil conceptuel la violence mythico-rationnelle à l’encontre du singulier non-identique, la langue littéraire semble en mesure d’indiquer la possibilité de parvenir par le concept au-delà du concept, ce qui constitue le désir utopique de la dialectique négative. L’enjeu n’est pas seulement épistémique : il est bien éthico-politique, lié à la possibilité d’établir des rapports à l’autre libérés de la contrainte de l’identité.Dans les œuvres littéraires dont il entreprend la lecture – qu’il s’agisse de celle d’Eichendorff, de Hölderlin, de Proust, de Valéry, de Beckett ou encore de Kafka – Adorno ne cherche cependant pas une figure concrète de l’utopie, mais la trace de « ce qui nous appartient en propre et qui a été laissé en blanc » – aussi bien dans les textes que dans l’Histoire. La littérature porte alors en creux ce possible impossible dont la puissance hante le présent entre ses lignes ; elle est de la réconciliation (Versöhnung) une image sans image, tout à la fois ressource de la critique radicale des conditions existantes et réserve du désir d’un autre à venir
This dissertation proposes to study the question of literature in the work of Adorno. It shows the utopian function which the philosopher attributes to literature as it draws the horizon of a "language without soil", a line of flight from the dialectic of reason. While philosophical discourse reproduces in its conceptual apparatus the mythical-rational violence against the non-identical singular, the language of literature seems able to indicate the possibility of reaching beyond the concept with the help of the concept, which is the utopian desire of negative dialectics. The challenge is not only epistemic: it is ethical-political as well, related to the possibility of establishing relations with others which are freed from the constraints of identity.In the literary works which he studies – those of Eichendorff, Hölderlin, Proust, Valery, Beckett or Kafka –, Adorno does however not seek a concrete figure of utopia, but rather traces of "what is our own and has been left blank" - both in these texts and in History. In those blanks, literature contains the « possible impossible » which haunts the present ; it is the picture without picture of Reconciliation (Versöhnung), a resource for both a radical critique of existence and for the desire of the other to come

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Exbrayat, Jean-Paul. "Le déclin de l'individu : (quatre essais pour déplacer et recomposer un thème)." Paris 1, 1986. http://www.theses.fr/1986PA010670.

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Ce travail tente de comprendre la situation de l'individu dans le monde capitaliste contemporain à partir d'une analyse et d'une critique du thème du déclin de l'individu dans l'oeuvre de Theodor W. Adorno et de Max Horkheimer. L'auteur recherche puis rejette les présupposés qui commandent la théorisation du thème dans l'oeuvre de ces derniers. Cet effort occupe les trois premières parties. La première, intitulée "tact et aura", oppose Adorno et Walter Benjamin: elle décrit quelques structures élémentaires de l'individualité bourgeoise en voie de "liquidation" et mesure l'écart qui sépare les théorisations d'Adorno et de Benjamin relatives à l'histoire et à la société. La seconde, intitulée "froideur et exubérance" propose, contre l'interprétation naturaliste de la froideur suggérée par Adorno, une explication sociale de son surgissement appuyée par l'examen de l'exubérance dans les sociétés "sauvages". La troisième, intitulée "entre nature et histoire, ou penser l'émergence et le déclin de l'individu ?", entreprend d'élucider les fondements philosophiques de la constellation intellectuelle ou Adorno et Horkheimer pensent le déclin de l'individu et de rompre avec elle en traçant l'esquisse d'un autre cadre théorique. La dernière partie, intitulée "le déclin de l'individu, sujet et personne", s'attache a une reformulation du thème dans son nouveau cadre. Elle aboutit à une historicisation totale de la catégorie d'individu et conclut à l'urgence d'une investigation historique plus poussée que celle dont elle a fait l'essai
This work attempts to understand the state of the individual in the contemporaneous capitalistic world through an analysis and a criticism of the theme of the fall of the individual in theodor w. Adorno's and max horkheimer's productions. The author seeks and then discards the presuppositions which govern the theorization of this theme in the last mentioned philosophers' works. This endeavour occupies the first three parts. The first, entitled "tact and aura", opposes adorno and walter benjamin: it describes some elementary structures of bourgeois individuality on the way to "liquidation" and measures the difference which separates adorno's and benjamin's theorizations about history and society. The second, entitled "coldness and exuberance", proposes, against the naturalistic interpretation of the coldness suggested by adorno, a social explanation of its appearance rested on the survey of exuberance in the "savage" society. The third, entitled "between nature and history: where must be thought the appearance and the fall of the individual?", undertakes to elucidate the philosophical grounds of the intellectual constellation where adorno and horkheimer conceive the fall of the individual and to break with them by delineating the outline of an other theoretical frame. The last one, entitled "the fall of the individual, subject and person", states the theme in its new frame. It ends in a complete historicization of the category of individual and concludes that it will be necessary to attempt a true historical inquiry about the double birth of the individual in antique Greece and in renaissance

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Deng, Haochen. "Deux critiques de la modernité politique au lendemain de la Seconde Guerre mondiale : une étude comparée. Leo Strauss et Theodor Adorno." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL074.

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L’objectif de ce travail est d’étudier parallèlement les critiques de la modernité développées à partir de deux positionnements philosophiques en grande partie antithétiques représentées ici par leurs figures de proue : Leo Strauss et Theodor Adorno. Nés et décédés presque aux mêmes moments sans s’être connus, ils seront interrogés ici, en particulier, à partir de leurs manières respectives de faire face aux multiples défis lancés en 1945 à la réflexion philosophique. La première section de cette étude examine leurs philosophies comme celles de penseurs se représentant eux-mêmes à travers leurs réactions différentes à l’antisémitisme. La deuxième section analyse leurs relations critiques, de teneurs fortement distinctives, à la pensée de Heidegger, vis-à-vis de laquelle chacun élabore à sa manière une démarche de rupture. La troisième section aborde, comme constituant des points de croisement entre Strauss et Adorno, deux discussions jouant un rôle-clé dans leurs pensées : d’une part avec le positivisme des sciences sociales ; d’autre part, avec la modernité, identifiée comme affrontant une crise consubstantielle à ses options spécifiques. Ces deux discussions font apparaître paradoxalement plusieurs points de convergence entre des démarches si opposées. La dernière section examine les deux solutions à l’égard du problème de la modernité, l’une macrologique s’appuyant sur les sources médiévales, l’autre micrologique demeurant dans le sillage de l’Aufklärung. Une discussion s’amorce dans la conclusion quant à ce qu’il peut en être désormais de la postérité conceptuelle de ces deux pensées dans le nouveau contexte qui est aujourd’hui celui de la philosophie politique
The aim of this study is to examine the critiques of modernity developed in parallel from two philosophical positions largely antithetical that are represented here by two main figures: Leo Strauss and Theodor Adorno. Born and died almost at the same time, these two thinkers are analyzed here from their way of facing different challenges imposed to the philosophical thinking in 1945. The first section examines their different reactions to the anti-Semitism. The second one analyzes their critical relations to Heidegger with whom each of them achieves a separation. The third section studies some junctions between them with two discussions: on the one hand, the discussion about the positivism in social sciences; on the other hand, the discussion about modernity considered as affronting a consubstantial crisis with their own options. These discussions make appear paradoxically several converging points between two opposing philosophical positions. The last section examines two solutions with regard to modernity: one, based on the medieval sources, is macrological, while the other, firmly devoted to the heritage of Aufklärung, is micrological. In the conclusion, this study will discuss the conceptual relevance of the posterity of these two thoughts in light of the actual context of the political philosophy

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Medeiros, Roberto Henrique Amorim de. "Residência integrada em saúde : a torção do discurso universitário na cena de formação do profissional em saúde." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/29961.

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A Residência Integrada em Saúde (RIS) é um dispositivo pedagógico-clínico-políticoburocrático que movimenta o debate acerca da atenção à saúde no país e, por conseguinte, o pensamento em torno dos impasses e enigmas da formação em serviço no contexto do SUS. Esta tese procurou lançar a escuta e o olhar crítico, bem como o pensamento reflexivo, sobre os espaços, tempos e dispositivos de formação em uma das ênfases do programa da RIS do Grupo Hospitalar Conceição, na cidade de Porto Alegre-RS. Para tanto, contou com elementos conceituais, dentre eles a teoria dos quatro discursos de Lacan, em especial o discurso da Universidade, aspectos do pensamento de Benjamin, elementos da formação do psicanalista, bem como as propostas dos principais autores nacionais que se dedicam ao tema da formação de profissionais em saúde e o SUS. A escolha pela forma ensaística como é apresentada a tese é sustentada pela teoria de Adorno e privilegiada como o modo mais adequado de dar tratamento expressivo e conceitual ao corpus, composto por cenas do cotidiano da Residência colecionadas pelo pesquisador. Partindo da diferenciação entre saber e conhecimento, associada às exigências quanto à formação do novo profissional em saúde, para cumprir as promessas do SUS à população, que parecem recair mais na construção de saberes do que de conhecimentos, a tese afirma e formaliza a possibilidade de transmissão de um saber a partir do que estipulou como cena de formação. Finalmente, analisa os papéis dos formadores - equipes e preceptores - para problematizar sua posição na cena de formação, constituindo, desse modo uma teoria sobre a ensinaprendizagem em residências integradas em saúde. Destaca-se, além da cena de formação, a supervisão como dispositivo com potencial de torção no discurso da universidade, ato essencial para que as propostas de formação do profissional em saúde em situação de Residência contemplem as expectativas contidas nos objetivos de seus projetos pedagógicos.
The Integrated Health Residency (RIS) is a pedagogical, clinical, political and bureaucratic device that moves the debate on health care in the country and hence the thinking on the dilemmas and enigmas of in-service formation in the context of the SUS. This thesis purported to launch listening and critical look as well as reflective thinking about space, time and formation devices in one of the emphasis of the RIS program of the Hospital Group Conceição, in Porto Alegre-RS. This involved with conceptual elements, including the theory of Lacan's four discourses, in particular the discourse of the University, aspects of Benjamin's thought, elements of the formation of psychoanalysts, as well as the proposals of the major national authors who focus on this issue of training of health professionals and the public health system. The choice for the essay form as the thesis is presented is supported by Adorno’s theory, and privileged as the most appropriate way of giving expressive and conceptual treatment to the corpus, composed by scenes of Residence’s everyday life, which were collected by the researcher. Starting from the distinction between knowledge and learning, associated with the demands on the formation of the new health professional to carry out the SUS’ promises to the people, which appear to fall more on building of knowledge than learning, the thesis states and formalizes the possibility of transmission of knowledge from what it stipulated as formation scene. Finally, it analyzes the roles of educators - staff and tutors - to discuss their position on the scene of formation, constituting thus a theory on teachinlearnig in integrated residences in health. It stands out, besides the scene of formation, the supervision as a device with potential torsion in the university discourse, an essential act to that the proposals of formation of health professionals in situations of Residence contemplate the expectations contained in the objectives of their pedagogical projects.

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Chanson, Vincent. "Principe d'identité et société d'échange : critique de l'idéalisme et théorie de la société chez T.W. Adorno." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100030.

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Cette thèse se propose de rendre compte de l’articulation qui est opérée dans l’œuvre de Theodor W. Adorno entre critique de l’idéalisme et critique de la société. Ceci en confrontant deux figures que nous considérons comme centrales pour son dispositif : celle de principe d’identité et celle de société d’échange. Car il s’agit pour Adorno de déterminer la manière dont la logique de le pensée identifiante peut rencontrer celle de l’abstraction marchande : une même tendance à la mutilation de l’hétérogène y serait repérable. La question étant ici celle d’analyser comment ces deux modalités peuvent se médiatiser, de comprendre comment une philosophie orientée en direction du primat de la non-identité peut aussi dans le même temps se déployer comme théorie critique. En d’autres termes, saisir une contrainte objective dans et par le concept implique chez Adorno de rendre compte de l’imbrication entre idéalisme et domination sociale : de la critique de la logique conceptuelle identificatoire à celle de l’immanence du monde devenu système, en passant par celle de la subjectivité constituante ou des formes d’abstraction sociales fétichistes et réifiées. Tout l’enjeu de notre travail sera de ce fait de reconstruire les principales modalités d’une telle problématique, nous concentrant sur la discussion par Adorno des thèses d’Alfred Sohn-Rethel dans un premier temps, pour ensuite étudier selon deux grands moments le statut du principe d’échange et sa liaison avec la rationalité identificatoire ‒ celui de la Dialectique de la Raison (1944-47) et celui de la Dialectique négative (1966)
The aim of this dissertation is to account for the articulation between the critique of idealism and the critique of society operated in Theodor W. Adorno’s work. In order to do so, I compare two figures which I consider central in his conceptual apparatus : the identity principle and the exchange society. For Adorno’s goal is to determine the way the logic of identificatory thought meets the logic of commodity abstraction, where a same tendency towards the mutilation of the heterogeneous is at work. The question is thus to analyse how these two modalities can mediate each other and to understand how a philosophy which is guided by the primacy of non-identity can, at the same time, deploy itself as a critical theory. In other words, to grasp conceptually an objective constraint means for Adorno to account for the interweaving of idealism and social domination : from the critique of the indentificatory conceptual logic to the critique of the immancence of a now system-like world, through the critique of constitutive subjectivity and of forms of social, fetishistic and reified abstractions. The aim of this study is to reconstruct the main modalities of this problematic, focusing on Adorno’s dicussion of Alfred Sohn-Rethel first, and then on the status of the exchange principle and its connection witch identificatory rationality in Dialectic of Enlightenment (19944-47) and in Negative Dialectic (1966)

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Gayraud, Agnès Marie. "La critique de la subjectivité et de ses figures chez T.W. Adorno. Une construction moderne." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040177.

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Cette thèse expose selon une double méthode génétique et architectonique la critique adornienne de la subjectivité et de ses figures depuis les textes de critique esthétique du philosophe rédigés au milieu des années vingt jusqu’à la Dialectique négative. Les figures dont la critique thématise la réification implacable à l’âge du capitalisme avancé sont à la fois les diverses incarnations de la subjectivité (du sujet philosophique à l’individu social) et ses produits (les œuvres d’art et la culture, le système idéaliste et la société). Nous montrons que leur critique, articulée selon des régimes divers (philosophique, esthétique et sociologique) s’élabore chez le philosophe comme une véritable construction. Bâtie en vue de résister à un idéalisme irréfléchi et désuet, menaçant l’art, la philosophie et l’individu même de liquidation, cette construction fait de l’immanence subjective – extrapolée à terme à l’échelle de la société tout entière – son lieu problématique initial dont elle ne brise le cercle oppressif qu’à partir de l’exigence d’une expression de la souffrance conférant à terme à la construction sa dynamique opératoire. Sans esthétisation aucune de la pensée adornienne mais par une attention soutenue à sa présentation, ce travail vise à donner aux modèles respectifs de la critique qu’elle élabore – critique esthétique, Théorie critique et négativité – leur unité fonctionnelle propre qui ne se dissout nullement dans le fragmentaire pas plus qu’elle ne se laisse rassembler en un procès idéaliste renversé, mais présente la forme d’une construction modulaire, en mouvement, par laquelle la subjectivité se réfrène et se libère, opposant à sa propre loi la résistance matérielle du monde
This thesis proceeds both genetically and architectonically to present Adorno’s critique of subjectivity and its figures. It relies upon a wide array of Adornian texts, ranging from the mid 1920s to the late 1960s. Adorno’s critique highlights the inescapable reification of subjectivity’s figures, which he understands as both incarnations of subjectivity (from the philosophical subject to the social individual) and products of subjectivity (works of art and culture, the idealist system and society itself). We defend that their critique, borrowing to aesthetic, sociological, and philosophical approaches, is elaborated by the philosopher as a very construction. This “construction” is built to resist an obsolete, unreflective idealism, which, in his view, threatens the arts, philosophy, and the individual with liquidation; it proceeds from subjective immanence as the problematic core of idealism, which oppressive circle it can only break through in following the demand for the expression of suffering, which gives it its critical dynamic. Through close attention to Adorno’s exposition, this work aims at restoring the functional unity of his critical models (aesthetic critique, critical theory, and negativity), which neither dissolve into fragments nor can be brought together in an inverted idealist process; it rather presents Adorno’s construction as a whole of dynamic, modular units, by means of which subjectivity both refrains and frees itself, by confronting its own laws to the material reality of the world

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Veinstein, Léa. "Penser la métamorphose : quatre lectures de Kafka dans la philosophie allemande : (Walter Benjamin, Theodor W. Adorno, Hannah Arendt, Günther Anders)." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC035.

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Ce travail vise à scruter quatre lectures de Kafka dans la philosophie allemande. Pourquoi ces philosophes ont-ils rencontré et interprété Kafka ? La première hypothèse est d’ordre biographique : leurs découvertes de Kafka sont marquées par le sentiment d’une proximité personnelle à l’égard ce qu’il donne à lire. Kafka est l’écrivain d’un certain moment, où le rapport à la langue ne va pas de soi, où l’expérience de l’exil prédomine, et où les mutations historiques rendent les contours de la subjectivité flous. La seconde hypothèse est philosophique : leurs lectures se fondent sur la nécessité de philosopher autrement, afin d’intégrer ces mutations. On ne peut plus penser selon les catégories du sens, de l’identité, de la conscience - mais il faut accepter que le sujet découvre en lui un étranger. Le défi que Kafka dresse devant ces philosophes serait donc de pouvoir « penser la métamorphose ». Celle du sujet, mais aussi celle que subit la philosophie au contact de la littérature. Et enfin, celle que Kafka invente dans l’ensemble de son œuvre, dont nous montrons qu’elle est irriguée par le « devenir-animal »
We are focusing on studying four readings of Kafka in german philosophy. Why have these philosophers met and interpreted Kafka ? Our first hypothesis is a biographical one : their reading of Kafka’s books are influenced by the feeling of a proximity between his life and their experiences. Kafka represents a crisis : in his work, the language is not innate anymore, experiencing exile is prevailing, the historical mutations affect the concept of subjectivity. The second hypothesis concerns the philosophy itself : because of these mutations, the traditional metaphysical categories of sense or consiousness are obsolete ideas. The subject is becoming a stranger. Kafka is challenging philosophers to « think out the metamorphosis », the subject’s metamorphosis, the philosophy’s metamorphosis, and finally, the one Kafka invented, which is everpresent in his works, the notion of a « becoming-animal »

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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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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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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), 2013
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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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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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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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Marin, Luisa Marin. "Narcissisme et reconnaissance : les aléas de la psychanalyse dans la théorie critique." Paris 7, 2009. http://www.theses.fr/2009PA070089.

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A partir de la reconstruction détaillée des différentes positions occupées par la psychanalyse dans la constellation des disciplines mobilisées par la Théorie Critique depuis les années trente jusqu'à aujourd'hui, nous avons saisi la centralité du thème du narcissisme. Ce travail propose une esquisse d confrontation de ce thème avec d'un côté le passage opéré par Axel Honneth entre la psychanalyse (par la voie anglaise tracée par Donald W, Winnicott) et sa théorie de la reconnaissance, et de l’autre côté, la théorie lacanienne. En introduisant une autre approche de la psychanalyse au cœur de la Théorie Critique, cette confrontation revisite le thème central du narcissisme ; elle montre les limites, mais aussi les nouvelles ouvertures possibles, de l’articulation entre psychanalyse et Théorie Critique
After a detailed reconstruction from the different positions psychoanalyses has played within the disciplinary constellations mobilised by Critical Theory from the thirties since nowadays, we have circumscribed the theme of narcissism as central. This work sketches a possible confrontation , from one side, the passage operated by Axel Honneth between psychoanalysis ( In the British Tradition, Donald W. Winnicott) And his recognition theory, and from the other side the lacanian theory. This confrontation, through the introduction at the heart of Critical Theory of another psychoanalytical approach, revisits the centrality from the narcissisms theme ; it shows the limits but it also indicates the possible new openings from the articulation between psychoanalysis and Critical Theory

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LEMOS, Solon Sales. "Dialética negativa: formação e resistência em Theodor Adorno." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/7527.

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LEMOS, Solon Sales. Dialética Negativa: formação e resistência em Theodor Adorno. 2013. 95f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013.
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The work we now have developed reflects on the process of education in Theodor Adorno from its proposed revision of the classic dialectic method transforming it into a Negative Dialectics Assuming that never at any time in history a man could tell so many achievements scientific and technological and never knew much about the heavenly bodies or the domain of nature and that parallel to these achievements has never been so much poverty in all its dimensions violence and exploitation of man by man will reflect along with Adorno on true role of reason in this historical context as an instrument in the service of late capitalism or the purpose of human action that seeks to free itself from the shackles of an " administered society " in the wake of these reflections it is necessary to seek the place it should occupy today philosophy on real understanding of what will be the human enlightenment as a means for the formation of autonomous individuals the path taken by science in the tracks of " instrumental reason " late industrial capitalism has reduced men to things such that the barbarity of Nazi concentration camps attest to the horror that is meant a society semi - formed , since the psychological mechanisms and economically structured that led to Aushiwitz not left behind but endures today on other forms of harassment and violence as racism reification class workers and discrimination against religious minorities and socioeconomic groups to name a few in seeking to overcome this condition mechanized and impersonal capitalist societies current method presents as Adorno and counterpoint to all this bourgeois structure of late capitalism in which his Negative Dialectics by reason critical if reshape the trajectory of Western philosophy resuming the moment this is lost on metaphysical concepts and absolutizantes and now must resume its course while knowledge to enable man to pass a condition heteronomous to an autonomous status through the resistance of non- -identification system late capitalist
O trabalho que ora desenvolvemos reflete sobre o processo de formação em Theodor Adorno a partir da sua proposta de reformulação do método dialético clássico transformando-o em uma Dialética Negativa Partindo do pressuposto de que jamais em momento algum da história o homem pôde contar com tantas realizações tecnológicas e científicas e nunca se soube tanto sobre os astros celestes ou o domínio da natureza e que paralelo a todas essas realizações nunca houve tanta miséria em todas as suas dimensões violência e exploração do homem pelo homem refletir-se-á juntamente com Adorno sobre o verdadeiro papel da razão no presente contexto histórico se como instrumento a serviço do capitalismo tardio ou como finalidade do agir humano que busca libertar-se dos grilhões de uma “sociedade administrada” Na esteira destas reflexões faz-se necessário buscar o lugar que deve hoje ocupar a filosofia no entendimento real do que venha a ser o esclarecimento humano como meio para a formação de indivíduos autônomos O caminho percorrido pela ciência nos trilhos da “razão instrumentalizada” do capitalismo industrial tardio tem reduzido os homens a coisas de tal forma que a barbárie dos campos de concentração nazista atesta o horror a que se destina uma sociedade semi-formada, uma vez que os mecanismos psicológicos e economicamente estruturados que levaram a Aushiwitz não ficaram para trás mas resistem hoje sobre outras formas de perseguição e violência como o racismo reificação da classe operária e discriminação de minorias etárias socioeconômicas e religiosas só para citar algumas Na busca de superação dessa condição mecanizada e impessoal das sociedades capitalistas atuais Adorno apresenta como método e contraponto a toda essa estrutura burguesa do capitalismo tardio sua Dialética Negativa na qual por meio de uma razão crítica se reformulará a trajetória da filosofia ocidental retomando o instante em que esta se perdeu em conceitos metafísicos e absolutizantes e que agora deve retomar seu curso enquanto conhecimento capaz de possibilitar ao homem a passagem de uma condição heterônoma a uma condição autônoma através da resistência da não-identificação ao sistema capitalista tardio

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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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Christ, Julia. "Jeu et critique. Objet, méthode et théorie de la société dans la philosophie de Th. W. Adorno." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040014.

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Ce travail réinterroge la philosophie sociale critique d’Adorno à partir des concepts de règle et de jeu. Il a pour objectif d’exposer la théorie de la société d’Adorno et d’en questionner les fondements. Ces fondements, telle est notre thèse, peuvent être conceptualisés dans un langage propre à la sociologie de l’action si on les reformule en termes de « règles », de « suivi des règles » et de « jeu » – concepts qu’Adorno lui-même utilise afin de décrire le social, plus précisément la société capitaliste dans laquelle il vivait. Le fameux tout « non-vrai », qu’est la société selon Adorno, peut ainsi être compris comme un jeu réglé par lui-même, indépendamment de l’intentionnalité des acteurs. Cette reformulation de la philoso-phie sociale d’Adorno nous permet de la faire dialoguer avec d’autres conceptions du social (Weber, Ha-bermas, Descombes, Searle et le structuralisme) et de montrer à quel point l’objet d’Adorno diffère de celui de Weber, de Habermas et de Searle alors qu’il est commensurable à celui du structuralisme. La méthode pour saisir cet objet, à savoir les règles non intentionnelles qui structurent le jeu social, est celle de Freud (interprétation, lecture symptômale). Adorno, toutefois, se distingue du structuralisme et aussi de Freud en ce qu’il pense pouvoir établir un lien entre société capitaliste et le social réglé comme un jeu inaccessible aux acteurs : ce jeu est non seulement l’objet de recherche d’Adorno mais aussi l’objet de sa critique. Notre travail s’emploie à étayer la possibilité de cette critique qui ne vise rien de moins que les conditions de possibilité du vivre en commun telles qu’elles ont été établies par la philosophie sociale structuraliste ainsi que par Freud : des règles à effet inconscient qui font en sorte que tous les acteurs ne réalisent ou ne di-sent pas les mêmes significations font l’objet de la critique adornienne. Critiquer ces règles implique de montrer qu’une critique de l’institution verticale des sujets est possible sans détruire ni poser comme abso-lu la subjectivité elle-même. Cette critique devient envisageable à partir du moment où l’on examine la pratique qui est incluse dans le suivi aveugle de la règle : au sein de cette « fausse » pratique – qu’Adorno appelle la pratique d’identification – se dégage une pratique autre qui met en question la soumission aveugle à la règle. Cette pratique critique est également appelée « jeu ». Notre travail se conclut sur l’exposition de cette pratique et de son potentiel critique au sein du jeu qu’est la société capitaliste
This work reexamines the social critical philosophy of Adorno, starting form the concepts of rule and of game. It aims to expose the social theory of Adorno and to question its foundations. These foundations can be conceptualized in a language specific to the sociology of action if they are rephrased in terms of rules, rule-following and game; concepts which Adorno himself uses to describe the social, spe-cifically the capitalist society in which he lived. The famous all "non-true" which society is according to Adorno, can be understood as a game working in itself, regardless of the intentionality of the actors. This rephrasing of the social philosophy of Adorno allows us to dialogue with the other approaches of the social (Weber, Habermas, Descombes, Searle and the structuralism) and to show how the object of Adorno differs from that of Weber, Habermas and Searle, how it is commensurable with that of structuralism. The Method to seize the object, i.e. the rules that structure the unintentional social game, is the method of Freud (interpretation, symptomatic reading). Adorno, however, differs from structuralism and also from Freud’s conception of the social because he thinks that he can establish a link between capitalist society and the social regulated as a game inaccessible to players: for Adorno this game is not only the object of research but also the object of his criticism. Our work goes on to justify the possibility of such criticism that targets nothing less than the conditions of possibility of common living. What was established by structur-alist social philosophy as well as by Freud is the subject of criticism of Adorno: rules whose effects are unconscious, which ensure that all players do not realize or do not say the same meanings. To criticize these rules implies showing that the critique of vertical instituted subjects is possible without destroying subjec-tivity nor positing it as absolute. This criticism becomes possible from the moment you look at the prac-tice included in the blind following of the rule which is the "wrong" practice - Adorno calls this practice of identification ; the right practice included in practice of identification challenges the blind submission to

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Camargo, Sílvio César 1969. "Modernidade e dominação : Theodor Adorno e a teoria social contemporanea." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278724.

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Orientador: Josue Pereira da Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A dissertação aqui apresentada procura compreender a sociedade contemporânea através da expressão modernidade. Para realizar esta tarefa postula-se o conceito de racionalidade como o que melhor a define. Entretanto o conceito de racionalidade é interpretado como inseparável do conceito de dominação. A hipótese é que a inseparabilidade entre racionalidade e dominação iniciou como um problema central para a teoria social contemporânea com a obra Dialética do Esclarecimento de Theodor Adorno e Max Horkheimer. Esta obra coloca problemas sociológicos que também serão abordados na teoria social de Jürgen Habermas, Michel Foucault e Fredric Jameson. O objetivo desta dissertação é mostrar o entrelaçamento destes conceitos ao conceito de capitalismo tardio assim como com a expressão pós-modernidade, destacando sua atualidade para debates contemporâneos em teoria social
Abstract: This dissertation seek to understand contemporany society through modernity expression. To do this, it postulates the concept of rationality as that better tool to define it. Nevertheless, the concept of rationality cannot be separeted from of the concept of domination. The hipothesis is that the link between rationality and domination arose as central problems to social theory contemporany with the Dialetic of Enlightenment of Theodor Adorno and Max Horkheimer. This work also postulates sociological problems to be analized in social theory of Jürgen Habermas, Michel Foucault and Fredric Jameson. The aim of this dissertation then is show the entwinement of these concepts to the concept of late capitalism as well as to that of postmodernism, with the aim of throwing to contemporary debates in social theory
Mestrado
Mestre em Sociologia

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Silva, Felipe Resende da [UNESP]. "A crítica de Theodor W. Adorno ao tédio: homem e cultura danificados." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/93145.

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Ao longo de seus últimos trinta anos de vida, Theodor Adorno nunca deixou de pensar sobre o problema do tédio. Para ele, lançar os olhos sobre esse fenômeno significa realizar um diagnóstico do estado geral da cultura onde o trabalho, o tempo livre e os objetos culturais se desviam do caminho emancipatório do homem. A perda do teor ético dessas três instâncias acarreta em deformações crônicas sobre os indivíduos, a negar-lhes principalmente um sentido para a própria existência e a capacidade de realizarem experiências (Erfahrungen). Põe-se, assim, a ideia de progresso em xeque. Na medida em que em uma sociedade portadora de todos os elementos necessários para a emancipação humana toma o caminho oposto a esta, ela passa a desumanizar os indivíduos das mais variadas maneiras. Adorno, ao manifestar preocupação com o problema do tédio, aponta para uma mal resolvida dialética do progresso, no sentido da auto-realização humana estar sendo obstruída pelo processo de integração social
Over the last thirty years of his life, Theodor Adorno never stopped thinking about the problem of boredom. For him, to glance over this phenomenon means to perform a diagnosis of the general state of culture, where work, the free time and the cultural objects deviate from man’s emancipatory path. The loss of the ethical content of these three instances leads to chronic deformations on individuals, denying them mainly a meaning for their very existence and the ability of realizing experiences (Erfahrungen). Puts up, therefore, the idea of progress in check. Insofar as in a society that offers all the necessary elements for human emancipation takes the opposite way, it starts to dehumanize individuals in many different ways. Adorno, while manifesting concern about the problem of boredom, points to an unresolved dialectic of progress in the sense of human self-realization being blocked by the process of social integration

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Vermeersch, Paula. "O escudo de Perseu : sobre textos de Theodor W. Adorno em The Authoritarism Personality." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278722.

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Orientador: Josue Pereira da Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho trata dos textos de Theodor W. Adorno na obra coletiva The Authoritarian Personality, escrita durante os anos de exílio do filósofo nos EUA. Adorno nestes textos se debruçou sobre temas fundamentais da Teoria Social, como ação individual, ideologia, educação, preconceito, religião, política
Abstract: This work discuss the Theodor W. Adorno's texts in the coletive research The Authoritarian Personality, written during the philosopher's exile in USA. Adorno, in these texts, speaks about fundamental subjects of Social Theory,, like individual action, ideology, education, prejudice, religion, prejudice, politics
Mestrado
Mestre em Sociologia

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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 vigente
This 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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43

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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Januário, Adriano Márcio 1979. "Th. W. Adorno e os potenciais de resistência no capitalismo tardio industrial." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278943.

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Orientador: Marcos Severino Nobre
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A Dialética do Esclarecimento, livro escrito por Max Horkheimer e Th. W. Adorno, publicado em 1947, possui um diagnóstico de tempo presente no qual os autores apontam um bloqueio estrutural à ação transformadora. Esse bloqueio seria de tal ordem que cada indivíduo que compõe a sociedade estaria determinado de antemão mediante a estrutura e o "aparato" dominante. Com isso, caberia apenas aos indivíduos a autoconservação por meio da adaptação à situação social como é dada, produzindo assim conformismo com relação a essa situação social. Embora Th. W. Adorno seja conhecido por esse diagnóstico de tempo presente da década de 1940 - o que faz com que grande parte da bibliografia sobre seu pensamento se oriente por esse diagnóstico - um dos objetivos principais dessa dissertação é apresentar seus limites. Mais precisamente, esse diagnóstico da década de 1940 não pode ser estendido para toda obra de Adorno, principalmente ao se tomar como referência os escritos da década de 1960. Adorno produziu ao longo da década de 1960 um diagnóstico de tempo presente que, embora estejam presentes alguns elementos do diagnóstico da década de 1940, ele difere principalmente com relação à dominação social tal como essa se apresenta. No diagnóstico década de 1960 há potenciais de resistência ao capitalismo tardio industrial. Esses potenciais permitem compreender uma nova relação entre os indivíduos e a sociedade dominada por essa forma de capitalismo, a saber, aos indivíduos não caberia como única opção a adaptação às condições sociais como são dadas, mas sim haveria a possibilidade de resistir a essa dominação. A apresentação do diagnóstico de tempo presente da década de 1960 acaba por apontar também sua relação com um dos projetos mais ambiciosos de Adorno: o projeto de uma dialética negativa. É nesse sentido que esta dissertação pretende também, ainda que de forma indicativa para um projeto futuro, estabelecer as relações entre esse diagnóstico da década de 1960 com a estruturação da Dialética Negativa, publicada em 1966
Abstract: The Dialectic of Enlightenment, book written by Max Horkheimer and Th. W. Adorno, and published in 1947, presented a present time diagnosis in which the authors posit a structural blockage to revolutionary action (Praxis). This blockage would be such that each individual would be determined in advance by the social structure and dominant "apparatus". Consequently, individuals would only have the option of self-preservation by adapting to a given social situation and entailing conformism. Although Th. W. Adorno is best-known for this present time diagnosis of the 1940s - much of the literature on his thinking is guided by it -, the main goal of this dissertation is to present its limits. More precisely, the diagnosis of the 1940s cannot be extended to Adorno's work as a whole, especially his writings from the 1960s. Adorno produced throughout the 1960s a present time diagnosis that, although some elements were present in the diagnosis of the 1940s, it differs mainly in relation to social domination and how it appears in society. In the 1960s there is a potential of resistance in the industrial late capitalism. That allows understanding a new relationship between individuals and society dominated by industrial late capitalism. More precisely, the adaptation to given social conditions is no longer the only option and there are many potential ways to resist social domination. The exposition of this diagnostic of the present time diagnosis of the 1960s points toward one of the most ambitious projects of Adorno: the project of a negative dialectic. In that sense, the dissertation also intends to establish the relationship between the diagnoses of the 1960s with the structure of Negative Dialectics, published in 1966
Mestrado
Filosofia
Mestre em Filosofia

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45

Galesso, Dora Thereza Duarte. "A crítica de Adorno no contexto das tecnologias digitais em música." reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/4917.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2009.
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A tecnologia não apenas é um elo entre sociedades produtivas mas, considerando-se a sua natureza mutante, a base de sua consolidação (LÉVY, 1999; SANTOS, 2002). Esta questão, como fenômeno e processo histórico, se faz presente nas formas de reflexão sobre as relações humanas e sobre os modos de produção a ela relacionados, nas quais o indivíduo é ora focado enquanto partícipe, ora focado enquanto representante da coletividade. O pensamento crítico que abrange esta questão encontra o seu espaço também na artisticidade, porque se, de um lado, há a “reflexão”, de outro, há a “expressão” – e mais especificamente na música -, na qual se testemunha um crescimento de suportes tecnológicos, no âmbito da tecnologia eletrônica e digital, cada vez mais desenvolvidos. A tipologia destas ferramentas e suas possibilidades, que ora substituem os instrumentos, ora os próprios músicos, tanto servem para uma aproximação ao conhecimento musical, como para um distanciamento absoluto deste, visto que oferecem um “produto” em detrimento a um “processo”. Na análise proposta, os argumentos advindos de antinomias filosóficas entre Theodor W. Adorno e Umberto Eco, desenvolvidas nas décadas de sessenta e setenta do século XX, direcionaram a crítica ao racionalismo iluminista, e as apropriações, acúmulo e surgimento de novos conceitos sobre técnica e tecnologia e suas reformulações. Estas oposições podem ser encontradas nas divisões entre “apocalípticos e integrados” (ECO,1964), e posteriormente entre “tecno-libertários e os excluídos socioeconômica e digitalmente” (SÁ & MARCHI, 2003). Como desdobramento desta conceituação, a fronteira entre a “virtualidade” e o “virtuosismo” torna-se tênue, ora sustentada pelos conceitos e condições das possibilidades que a tecnologia digital oferece, ora voltada para a capacidade de o indivíduo de superar-se a si próprio enquanto um processo fundamental e complementar – como presentes nas análises de Milton Santos, da Escola de Frankfurt, de Pierre Lévy e de Bernard Stiegler. Por ultimo, discute-se a relação dos conceitos de “obra aberta” de Umberto Eco com os conceitos do “universal sem totalidade” sugerido por Pierre Lévy, que implicam não somente no desaparecimento da autoria quanto no caráter de incompletude das obras, além da perda dos referenciais de espaço e tempo. Tais implicações são impulsionadas pelas facilitações que a tecnologia digital oferece que incidem sobre a capacidade criativa e performática do indivíduo, fazendo com que os argumentos de Adorno se renovem e se atualizem nas conceituações sobre o ciberespaço, abrigo de uma sociedade “in-formação” em sua expressão digital. _________________________________________________________________________________ ABSTRACT
The technology is not just a link among productive societies but, considering its mutant nature, the base of its consolidation (LÉVY, 1999; SANTOS, 2002). This subject, seen as a phenomenon and historical process, is present on reflexive thought concerning human relationships and the production manners thereof related, in which the individual is some times focused as a participant, and other times focused as a collective representative. The critical thought that embraces this subject also finds its space on artistic matters, because if, on one side, there is "reflexive thought", on the other, there is "expression" - and more specifically in music -, in which a testified growth of technological supports, within the electronic and digital technology context, ever more developed. The typology of these tools and its possibilities, that some times substitute the instruments, at other times the very musicians, so much serve to approach musical knowledge, as for its absolute estrangement, offering a "product" in detriment to a "process ". In the proposed analysis, the arguments stemming from philosophical antinomies between Theodor W. Adorno and Umberto Eco, developed in the sixties and seventies, have compelled criticism to illuminist rationalism, and the appropriations, accumulation and development of new concepts concerning technique and technology and its reformulations. These oppositions can be found in the divisions between "apocalyptic and integrated" (ECHO, 1964), and later on among "techno-libertarians and the social- and digitally excluded" (SÁ & MARCHI, 2003). As an unfolding of this conceptualization, the border-line between "virtuality" and "virtuosity" becomes slender, at times sustained by concepts and conditions offered through digital technology, at times turned to the capacity of the individual to overcome itself as a fundamental and complementary process – as present in the analyses by Milton Santos, the Frankfurt School, Pierre Lévy and Bernard Stiegler. Last, one discusses the relationship between Umberto Eco’s "open-work" and Pierre Lévy’s "wholeless universal" concepts, implicating not only the disappearance of authorship but the uncompleted character of works, along with the loss of space and time references. Such implications are impelled by the facilitations offered by digital technology which affect the individual's creative and performing capacity, thus allowing a renewal and up to date revision of Adorno’s discussions within cyberspace conceptualizations, shelter to an "in-formation" society expressed in digital terms.

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SILVA, Pedro Rogério Sousa da. "Filosofia, técnica e indústria cultural: implicações à educação em Theodor Adorno." http://www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/3182.

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SILVA, Pedro Rogério Sousa da. Filosofia, técnica e indústria cultural: implicações à educação em Theodor Adorno. 2012. 86f. Dissertação (Mestrado em Educação) - Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2012.
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In general terms, this paper presents, firstly, some considerations about the cultural, educational, philosophical and artistic formation of Theodor Adorno. It approaches the philosophy of Negative Dialectics (Negative dialektik) and the affluence of psychoanalytic concepts in the same author. Another area of research concerns the technique and its environment by instrumental reason, i.e. it is a form of rationality that appeared as an instrument of domination used in the context of late administered capitalism. Furthermore, we seek to detect and describe here some of its consequences for the field of sports and educational subjects of individuals. We also aim to investigate one of the most important concepts in Adorno’s work, the "cultural industry" (Kulturindustrie). In this sense, we find such industry in his work, more specifically in his sociocultural studies, such as, the Dialectic of Enlightenment (Dialektik der Aufklärung) and Aesthetic Theory (Ästhetische Theorie). Finally, we analyze the relationship between cultural industry, ideology and fetishism and their consequences for art and education.
Em linhas gerais, o presente trabalho tece primeiramente algumas considerações em torno da formação cultural, educacional, filosófica e artística de Theodor Adorno. Aborda a Filosofia da Dialética negativa (Negative dialektik) e a afluência de conceitos psicanalíticos no mesmo autor. Outro ponto de investigação diz respeito à técnica e ao seu enquadramento pela razão instrumental, ou seja, trata-se de uma forma de racionalidade que apareceu como um dos instrumentos de dominação utilizados no contexto do capitalismo tardio administrado. Ademais, procura-se aqui detectar e descrever algumas de suas consequências para o campo esportivo e educacional dos indivíduos. Visa-se ainda investigar um dos mais importantes conceitos da obra de Adorno, a “indústria cultural” (Kulturindustrie). Neste sentido, localizamos esta indústria em sua obra, mais especificamente nos seus trabalhos de natureza sociocultural, como, por exemplo, a Dialética do Esclarecimento (Dialektik der Aufklärung) e a Teoria Estética (Ästhetische Theorie). Por fim, analisamos a relação entre indústria cultural, ideologia e fetichismo e suas consequências para a arte e a educação.

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Pucci, Rodrigo Marques. "O conceito de indivíduo na obra de Theodor W. Adorno e suas relações com o pensamento de Sigmund Freud." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-21072011-145333/.

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Com o advento da sociedade industrial do chamado capitalismo tardio, marcada por uma forma de dominação calcada na racionalidade administrativa e tecnológica, surge uma nova maneira de configuração dos indivíduos, representada por atitudes individuais padronizadas e irracionais, assim como também por um ego frágil, pouco desenvolvido e facilmente cooptado por movimentos sociais totalitários e irracionais. Diante dessa situação faz-se necessário pensar uma Psicologia social, de base psicanalítica, ligada ao estudo da relação entre indivíduo e sociedade, unida a uma teoria social e considerada sempre dentro do movimento histórico. Para contribuir com essa discussão, o objeto estudado desta pesquisa é o conceito de Indivíduo na obra de Theodor W. Adorno, e, o objetivo, analisar suas relações com o pensamento de Sigmund Freud, importante teórico que se propôs a estudar o indivíduo e suas atitudes irracionais. Vale ressaltar que a categoria indivíduo é uma das principais, se não a principal, categoria teórica da Psicologia como ciência, e apresenta-se, atualmente, como um elemento indispensável a qualquer tipo de transformação social ligada aos princípios de uma sociedade autônoma. Os resultados da pesquisa apontaram que relevante a psicanálise de Freud com certeza foi ao pensamento de Adorno, principalmente, em alguns temas específicos estudados por ele, ou seja, em textos e pesquisas específicas que tinham como reflexão a denúncia de fenômenos irracionais presentes no século XX, assim como também em estudos sobre os movimentos de massa contemporâneos, a personalidade autoritária, os fatores implicados no anti-semitismo e os efeitos psicossociais da indústria cultural. As reflexões de Freud que estiveram mais presentes nesses estudos foram as que se referem à psicologia de massa, libido, complexo de Édipo, id, ego, superego e narcisismo. Tais reflexões foram utilizadas, não sem críticas, por Adorno para auxiliá-lo, dentro do escopo de uma teoria social, a compreender o indivíduo, inserido na sociedade de massa contemporânea, e suas atitudes irracionais
With the industrial society advent within the so-called late capitalism, which is determined by the dominance of administrative and technological rationality, a new manner of individuals configuration emerged, being characterized by irrational standardized individual attitudes, as well as by individuals with a fragile and less developed ego who are easily carried out by irrational totalitarian social movements. In face of this situation, it is necessary to bear in mind a psychoanalytic-based social psychology which must be related to the study of the relation between the individual and society, and also linked to a social theory that is in accordance with a certain historical movement. In order to contribute to the discussion of this issue, the aim of this research is the concept of individual in Theodor W. Adornos work and its objective is analyzing its relationship with Sigmund Freuds thinking, an important theorist who proposed the study of individual and his irrational attitudes. It is worthwhile to stress that the categorization of an individual is one of the main not to say the most important theoretical category of Psychology as a science and is presented, nowadays, as an essential element to any social transformation related to the principles of an autonomous society. The results of this research proved undoubtedly that Freuds psychoanalysis was relevant to Adornos thinking, mainly in some specific themes studied by the latter, that is, in both texts and specific researches related to denouncing irrational social movements in the twentieth century, as well as some other publications on contemporary mass movements, the authoritarian personality, the factors implied in the anti-semitism and the socio-psychological effects in the cultural industry. Some of Freuds reflections that were present in Adornos thinking are those which refer to mass psychology, libido, Oedipian complex, id, ego, superego and narcissism. Those studies were used by Adorno and somehow criticized by him to develop his own ideas in the scope of a social theory to understand individuals within the contemporary massified society and their irrational attitudes

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Carvalho, Sonia Maria de. "A critica de Adorno a cultura moderna." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279261.

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Orientador : Renato Ortiz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: o presente trabalho preocupa-seem revelar quais os fundamentosda critica de Adorno à cultura moderna. Para isso, será necessário esclarecer, primeiro, porque tal critica está intimamente ligada à compreensão que Adorno tem do capitalismo tardio. Segundo, que a cultura, na modernidade, foi praticamente substituída por wna indústria cultural que impede que aquela esfera continue atuando como wna esfera autônoma, portanto, potencialmente transformadora. Finalmente, que esse fato colabora, cada vez mais, para wna incapacidade dos indivíduos de se estabelecerem como sujeitos e se firmarem como personalidades com tendências autoritárias: seja pela sllbmissão ou pelo autoritarismo exagerado
Abstract: The present work shows the fundamentals of Adorno's criticism to modern culture. In order to do this it will be necessary to clarify, fIrst, the reasons why such a criticism is closely related to Adorno's comprehension of late capitalismo Second, that culture, in modernity, was pratically substituted by a culture industry that prevents it ftom keeping on acting like an autonomous and thus, transforming, sphere. Fina1ly,this fact collaborates for the individuais' incapacity to establish themselves as subjects and, because of this, helps settling them as personalities with authoritarian tendencies: be it by submission or excessive authoritarism
Mestrado
Mestre em Sociologia

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Bido, José Mateus. "Razão e emancipação: uma leitura a partir de Theodor W. Adorno." Universidade Estadual do Oeste do Parana, 2012. http://tede.unioeste.br:8080/tede/handle/tede/2127.

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The dissertation seeks to establish the relationship between reason and emancipation from the reading of Theodor W. Adorno. This dialogue is based on the view that rationality carries with it the potential to overcome the project reifies imposed by consumer society. The capability is critical rationality credit to the constitution of an individual's training process for its rational and political emancipation. Emancipation rational causes the individual to become conscious of itself as being contingent and historical, as distinct from another, but that requires the other to form the non-identical. Political emancipation causes the individual to connect with people and institutions, such that its action is measured not by the autonomy and heteronomy. Thought and action are worked by Adorno as two intrinsic conditions of the same process that permeate and establishing the realities, problems. Are characteristic elements themselves and the human condition in history and are to give people the knowledge and eliminate / overcome the bonds establishing the identity mass. Thought and action are epistemologically placed to lead the contemporary society, a dialectical process, for continuing training, so that the atrocities are identified, reported and avoided. A reflection and action, with features behave as constant criticism of themselves, potentiate the opening for the new, resisting the given position dialectically in a process of emancipation. Thought, therefore, from the historical context, the concept of emancipation, it is therefore more than a situational condition that involves the individual in intellectual clarity for decision making, free-form. Adorno's conception of emancipation becomes a project that a free and democratic society must pursue and enable its members, giving the conditions for achieving an identity through a cultural constant. The condition of an enlightened individual with a view to Adorno, is implicitly linked to the process of its formation, by a broad education. Education leads to a different conception of reason: historical reason not absolute reason (perenis). This condition presents itself as a training opportunity that can lead to intellectual maturity, human and cultural order that the individual understands the difference in meaning between autonomy and act for act on heteronomy. The difference between acting and acting autonomously motivated by heteronomous motivation. The difference between acting on their own initiative and act by force or external initiative. The understanding of emancipation is now seen as a project and training processes, both taken from the perspective of the notion of a liberating rationality, front reifying the scope of the consumer society.
A dissertação busca estabelecer a relação entre razão e emancipação a partir da leitura de Theodor W. Adorno. Este diálogo se inspira na perspectiva de que a racionalidade traz em si a potencialidade para a superação do projeto reificador, imposto pela sociedade de consumo. A potencialidade está em creditar à racionalidade crítica a constituição de um processo formativo do indivíduo para a sua emancipação racional e política. A emancipação racional provoca o indivíduo a se tornar consciente de si como ser contingente e histórico, distinto do outro, mas que necessita do outro para a constituição do não-idêntico. A emancipação política provoca o indivíduo a estabelecer relações com pessoas e instituições, de maneira tal que sua ação seja medida pela autonomia e não pela heteronomia. Pensamento e ação são trabalhados por Adorno como duas condições intrínsecas de um mesmo processo que permeiam e instituem as realidades-problemas. São elementos característicos e próprios da condição humana na história e estão para proporcionar aos homens o conhecimento e a eliminação/superação dos vínculos que instituem a identidade massificada. Pensamento e ação estão postos epistemologicamente para conduzir a sociedade contemporânea, num processo dialético, para a formação permanente, a fim de que as barbáries sejam identificadas, denunciadas e evitadas. Uma reflexão e ação, com características de se portarem como crítica constante de si mesmas, potencializam a abertura para o novo, resistindo dialeticamente ao dado posto, num processo emancipador. Pensada, portanto, a partir do contexto histórico, a concepção de emancipação, torna-se, pois, mais do que uma condição situacional que envolve o indivíduo na clareza intelectual para a tomada de decisão, de forma livre. A concepção adorniana de emancipação torna-se um projeto que uma sociedade livre e democrática deve perseguir e possibilitar aos seus membros, dando as condições para a conquista de uma identidade própria, por meio de uma formação cultural permanente. A condição de um indivíduo esclarecido, na perspectiva adorniana, está implicitamente ligada ao processo de sua formação, por uma ampla educação. Educação leva a uma concepção de razão diferenciada: razão histórica e não razão absoluta (perenis). Esta condição formativa se apresenta como a possibilidade capaz de conduzir ao amadurecimento intelectual, humano e cultural a fim de que o indivíduo compreenda a diferença de significado entre agir por autonomia e agir por heteronomia. A diferença entre agir por motivação autônoma e agir por motivação heterônoma. A diferença entre agir por iniciativa própria e agir por força ou iniciativa externa. A compreensão da emancipação passa a ser vista como projeto e como processos formativos, ambos tomados a partir da perspectiva da noção de uma racionalidade libertadora, frente ao escopo reificador da sociedade de consumo.

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Zuin, Antônio Álvaro Soares. "A industria cultural e a formação dissimulada : aspectos psicologicos da experiencia educacional danificada." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251087.

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Orientador: Pedro Laudinor Goergen
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Dissertations / Theses on the topic 'Adorno, Theodor Wiesengrund, 1903-1969'

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