Made available in DSpace on 2015-04-14T14:23:21Z (GMT). No. of bitstreams: 1 437475.pdf: 598807 bytes, checksum: 44afd183b41930cefe49a9d3c0c3c392 (MD5) Previous issue date: 2012-01-12 / Ethics, aesthetic and education are the basic concepts in this present investigation, which has as its guiding paradigm, critical theory of Theodor Adorno. Form the basis the allow us to conceive the post-metaphysical subject in Adorno, under what conditions is possible defend the enlargement of the experience like a way of the constitution of the subjectivity, which is the basis of the moral consciousness, and that ethic signification comes to the education, in view of the subject that, morally, need to be constituted based on the experience? Starting from this problem, the general goal is to discuss the post-metaphysical subjectivity notion in Adorno, to establish, based in such subject, an ethical and educational meaning, able to guide the human formation and the moral consciousness development. As theoretical indicative, the thesis proposes that, in the moment that the education becomes an enrichment promoter of the formation experiences, is possible the enlargement of the way that happens the constitution and the development of the ethic subject. This guides us to the constitution of the environment in which the mankind is inside, this environment is called language. Therefore, the defense is about the linguistic shape as the ethical challenge of human development.It is articulated the aesthetic as a foundation under which is possible to defend the enlargement of the concept of the experience and the constitution of the subjectivity. The theoretical approach starts with a discussion on how the constitution of subjectivity and moral consciousness in Kant happens, whose foundation lies in the concepts of order and freedom, to, after, understand the change proposed by Adorno, in which aesthetics is intimately related to ethics, as is evident from the terms of concrete constellation, communication and real content. The method is analytical and conceptual, creating a confrontation between these two philosophical strands, while proposing significance to educational practice in the school environment. The propose o recognize the other as a concrete, who is inserted in a linguistic environment, and the necessity for the classroom to be an ideal place in which this environment should be shaped, is an ethical alternative to the formation, from which we can glimpse the school as a place of development and qualification of the human. / ?tica, est?tica e educa??o s?o os conceitos b?sicos presentes nesta investiga??o, a qual tem como paradigma orientador, a Teoria Cr?tica de Theodor Adorno. A partir das bases que permitem conceber o sujeito p?s-metaf?sico em Adorno, sob que condi??es ? poss?vel defender o alargamento da experi?ncia como meio de constitui??o da subjetividade, a qual ? a base da consci?ncia moral, e que significa??o ?tica surge para a educa??o, tendo em vista o sujeito que, moralmente, precisa ser constitu?do com base na experi?ncia? Partindo deste problema, o objetivo geral ? discutir a no??o de subjetividade p?s-metaf?sica em Adorno, a fim de estabelecer, baseado em tal sujeito, uma significa??o ?tico-educativa capaz de nortear a forma??o do humano e o desenvolvimento da consci?ncia moral. Como indicativo te?rico, a tese prop?e que, no momento em que a educa??o se torna promotora de enriquecimento das experi?ncias formativas, ? poss?vel o alargamento do modo como ocorre a constitui??o e forma??o do sujeito ?tico. Isto nos conduz ? constitui??o do meio no qual o ser humano est? inserido, meio este denominado linguagem. Portanto, a defesa ? sobre o plasmar ling??stico como o desafio ?tico da forma??o humana.Articula-se a est?tica como fundamento sob o qual ? poss?vel defender tal alargamento do conceito de experi?ncia e de constitui??o da subjetividade. O percurso te?rico inicia com a discuss?o sobre o modo como ocorre a constitui??o da subjetividade e da consci?ncia moral em Kant, cujo alicerce est? nos conceitos de finalidade e liberdade, para, ap?s, compreender a mudan?a proposta por Adorno, no qual a est?tica est? em ?ntima rela??o com a ?tica, o que se evidencia a partir dos termos concreto, constela??o, comunica??o e conte?do de verdade. O m?todo ? anal?tico conceitual, gerando um confronto entre estas duas vertentes filos?ficas, ao mesmo tempo em que prop?e significa??o ? pr?tica educacional em ambiente escolar. A proposta de reconhecimento do outro enquanto concretude que constitui e habita um meio ling??stico, e a necessidade de a sala de aula ser o local privilegiado no qual este meio deve ser plasmado, ? uma alternativa ?tica para a forma??o, a partir da qual ? poss?vel vislumbrar a escola enquanto local de desenvolvimento e qualifica??o do humano.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-07-21T12:06:42Z No. of bitstreams: 1 472473 - Texto Completo.pdf: 1627654 bytes, checksum: 1be7d722177eb283d7afcd7a9d88eb92 (MD5) / Made available in DSpace on 2015-07-21T12:06:42Z (GMT). No. of bitstreams: 1 472473 - Texto Completo.pdf: 1627654 bytes, checksum: 1be7d722177eb283d7afcd7a9d88eb92 (MD5) Previous issue date: 2015-03-20 / This paper intends to present Theodor W. Adorno?s philosophy of history by the unfolding of continuum concept in the categories of proto-history, Calvary, ever-identical, self-destruction and redemption. Instead to dialogue with messianic currents of Judaism and Christianity, our intention is, through the philosophical tradition, raise the continuum to concept. This articulation does not mean that we want to counteract the theology, but has the pretension to present a closer interweaving between theology and philosophy. The thema probandum, the continuum has a double difficulty to overcome in this work: first, to emerge the continuum in Adorno?s work and then its internal consistency as a concept and ability to consolidate the philosophy of history against others concurrent positions while we establish the originality of Adorno, even compared to the authors that had a decisive influence on his thinking, in particular Walter Benjamin. / O presente trabalho pretende apresentar a filosofia da hist?ria de Theodor W. Adorno sob o desdobramento do conceito de continuum nas categorias de proto-hist?ria, calv?rio, sempre-id?ntico, autodestrui??o e reden??o. Ao inv?s de dialogarmos com as correntes messi?nicas do juda?smo e cristianismo a nossa pretens?o ?, atrav?s da pr?pria tradi??o filos?fica, elevar o continuum ao conceito. Este movimento n?o significa neutralizar a teologia, mas demonstrar um entrela?amento muito mais estreito entre ela e a filosofia. O thema probandum, o continuum, encontra uma dupla dificuldade a se superar neste trabalho: fazer emergir claramente o continuum, em primeiro lugar, na obra de Adorno, e depois sua consist?ncia interna enquanto conceito e capacidade de se afirmar diante de posi??es concorrentes de filosofia da hist?ria. Isso tudo, ao mesmo tempo em que firmamos a originalidade de Adorno, mesmo frente aos autores que tiveram influ?ncia decisiva no seu pensamento, em particular, Walter. Benjamin.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-04T11:04:05Z No. of bitstreams: 1 Gustavo dos Santos Rey Saiz.pdf: 1062891 bytes, checksum: dcb674d82b570317ab8a99ccf5068ec4 (MD5) / Made available in DSpace on 2017-10-04T11:04:05Z (GMT). No. of bitstreams: 1 Gustavo dos Santos Rey Saiz.pdf: 1062891 bytes, checksum: dcb674d82b570317ab8a99ccf5068ec4 (MD5) Previous issue date: 2017-09-20 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This dissertation aims to present the trajectory of the Brazilian reception of the German philosopher Theodor Adorno. Linked to the Institute of Social Research - from which would emerge the "Frankfurt School" - Adorno begins to receive attention from Brazilian intellectuals between the decades of 1950 and 1960. Since then, researchers from different areas have looked out to the work of this author, creating what we called, following Pierre Bourdieu, an academic field. This trajectory involved distinct readings, appropriations and definitions about the author, built and criticized over time. This dissertation intends to analyze this processes locating them in it's different historical moments / Esta dissertação de mestrado tem como objetivo apresentar a trajetória da recepção brasileira do filósofo alemão Theodor Adorno. Intelectual ligado ao Instituto de Pesquisas Sociais – de onde emergiria a chamada “escola de Frankfurt” – Adorno começa a tornar-se tema de reflexão dos intelectuais brasileiros entre as décadas de 1950 e 1960. Desde então, uma série de estudiosos de diferentes áreas se debruçaram sobre a obra deste autor, constituindo aquilo que definimos, seguindo Pierre Bourdieu, como um campo acadêmico. Esta trajetória envolveu leituras, apropriações e definições distintas sobre o autor, construídas e criticadas ao longo do tempo. Esta dissertação pretende analisar estes processos localizando-os em seus diferentes momentos históricos

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This thesis investigates the transatlantic manifestation of the debate regarding the aesthetics of commitment in the modernist literary and theatrical tradition. Within the debate theatre occupies a privileged position since (because of its two-fold roles both as theory and performance) it allows a critique both of performative conventions and methods and also a dialectical consideration of the audience’s socio-political consciousness. The debate, often referred to as form versus content – schematically re-written as ‘autonomy’ versus ‘commitment’ – and its transatlantic evaluation are central to modernist aesthetics, as they bring into question the established modes of perceiving and discussing the issue. A parallel close reading will reveal the closely related development of the European and the American traditions and evaluate their critical strengths and shortcomings. The first part of the thesis discusses the positions of Georg Lukács and Bertolt Brecht, Theodor Adorno and Walter Benjamin in tandem with those of the New York Intellectuals, especially as expressed in the latters’ writings in the Partisan Review. The second part extends this transatlantic dialogue through a consideration of the theatrical works of the New York Living Newspaper unit of the Federal Theatre Project (FTP) in the USA and Bertolt Brecht’s vision of and relationship with ‘Americana’ as revealed through such plays as In the Jungle of Cities, Man Equals Man, St Joan of the Stockyards and the 1947 version of Galileo. The Federal Theatre and Brecht’s respective dramaturgies demonstrate differences in the articulation and application of the aesthetics of commitment and politics of engagement. A close reading of four plays by the Living Newspaper unit will not only reveal the influence of the Russian Blue Blouse groups and Meyerhold’s theatrical experimentations, but also how the unit’s playwrights and administration attempted to re-write this aesthetic. Hallie Flanagan (the director of FTP), recognising the limitations of Broadway and having sensed the audience’s need for a new kind of theatre, realised early on the importance of ‘translating’ the European aesthetics of commitment to conform with the American New Deal discourse. Brecht’s plays manifest not only the differences with respect to the European aesthetics of commitment, but also its highly complicated development. His American experiences revealed that the failings of the FTP’s attempt to establish a viable national theatre with a social agenda prohibited a more powerfully theatrical connection (theoretical and performative) between the two traditions. Both the European and the American modernist aesthetics are informed by Marxist cultural and literary theory, particularly by the writings centred on the political efficacy of a work of art with respect to its reception and its modes of production. The politico-aesthetic encounter of the Marxist tradition of engagement with a commitment to aesthetic formalism (often associated with the autonomy position) led to a confrontational and polemical rather than dialectical argumentation. However, this thesis maintains that the arguments were not simply articulated by theorists at opposing ends of the political spectrum. At the same time, Brecht and the Federal Theatre Project’s interest in the advancements of the European avant-garde and fascination with the notion of ‘Americana’ demonstrate the necessity to examine the issue of commitment in a more dialectical manner. While their notion of the aesthetics of commitment differed, this thesis argues for the necessity, not only of revisiting some of the fundamental premises regarding the role and function of this aesthetics in modernist political theatre, but also of reading the two traditions in conjunction.

Thèse (D. en histoire de l'art)--Université du Québec à Montréal, 2005. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. 273-289. Publié aussi en version électronique.

Thesis (M.A. (Political & International Studies)) - Rhodes University, 2008.

Made available in DSpace on 2014-06-11T19:33:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2009Bitstream added on 2014-06-13T19:23:30Z : No. of bitstreams: 1 silva_mrl_dr_mar.pdf: 731650 bytes, checksum: 2d3989bccb65ebe66cdeb00d7c8c46a2 (MD5) / A presente pesquisa parte do pressuposto adorniano da conversão da formação em semiformação e mito. O devir da semi-formação generalizada ocultou a experiência, dissimulando-a sob a pobreza da identificação com seu tempo; já nada distinto do sujeito, um homem novo, mas sempre velho a se tempo. Esta é também uma forma de barbárie, pois ao negar a experiência nega-se também a possibilidade de criação de si mesmo. Adotamos a metodologia da “ontologia do presente” de Foucault para apontar as formas com as quais queremos ser governados. Esta atitude de governo, na experiência, é impulso da aparição, do efêmero, é possibilidade artística e poética de fazer emergir aquilo que escapa à reflexão, deixando aparecer algo que ainda não existe. Apontamos, com Lyotard, que a possibilidade de verdade no âmbito da estética seria superior à própria reflexão filosófica, justamente pela afinidade e sintonia da estética com a singularidade da experiência no sujeito; sinalizamos a atitude de viver a própria vida, de chamar autenticamente a experiência de minha, como meio de não ceder à performance e ao espetáculo a que se converte a formação. / This search adorniano the assumption of the conversion training and training in a semimyth. The semi-training of becoming widespread hid the experience, masking it under the poverty of identification with their time, but nothing other than the subject, a young man, but where is the old time. This is also a form of barbarism, because by denying the negative experience is also the possibility of establishing itself. We adopted the methods of ontology of this brake to point the ways with which we want to be governed. This attitude of government, the experience, momentum is the appearance of ephemeral, is artistic and poetic ability to emerge from what escapes the reflection, leaving something that appears not yet exist. Go with Lyotard, that the possibility of truth within the aesthetic would be superior to their own philosophical reflection, precisely by affinity and the aesthetic keeping with the uniqueness of the experience in the subject, marked the attitude of living life itself, to draw the authentic experience of mine, as a means to not give the performance and the spectacle that is becoming the training.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-06Bitstream added on 2014-06-13T20:56:32Z : No. of bitstreams: 1 gentile_jm_me_ia.pdf: 480493 bytes, checksum: 3d5783ab6a412200ddcb4fcaf0dbbf3a (MD5) / Essa pesquisa é fruto de uma interface entre música e filosofia. Trata-se de analisar o filme Ludwig van, de Mauricio Kagel, realizado em 1970 por ocasião do bicentenário de Beethoven, a partir de dois aspectos pouco conhecidos da teoria de Theodor Adorno, que aparecem sobretudo em seus últimos textos. O primeiro diz respeito a um certo uso do fragmento que está ligado à identificação com materiais musicais do passado fetichizados, não como uma retomada, mas com um uso crítico, onde os resquícios tonais aparecem como ruínas. O segundo refere-se a um redimensionamento da questão da reprodutibilidade técnica em Adorno e aponta para as possibilidades críticas da montagem cinematográfica através dos recursos da justaposição e da ruptura temporal. Ludwig van, ao fazer uma colagem com obras de Beethoven, alterando timbres e andamento, reúne esses dois aspectos. / This research springs from an interface between Music and Philosophy. It is an analysis of the film Ludwig van, by Mauricio Kagel, produced in 1970 on the occasion of the bicentenary of Beethoven; the analysis is based upon two premises not widely known within the theoretical corpus of Theodor Adorno, which are especially conspicuous in his last writings. The first is concerned with a usage of fragment that is bound to identification with fetishized musical material from the past, not for recovery, but instead recused with a deep sense of critics, where tonal reminiscences appear as ruins. The second is concerned with a reshaping of the question dealing with technical reproducibility in Adorno and points out to the critic possibilities of cinematographic montage through the resources of juxtaposition and temporal rupture. The film Ludwig van, by undertaking a collage with the Beethoven works, altering timbres and tempo, brings these two ideas together.

Made available in DSpace on 2014-06-11T19:27:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-24Bitstream added on 2014-06-13T20:27:45Z : No. of bitstreams: 1 baggio_i_me_ia.pdf: 867118 bytes, checksum: 1b8a7d1f74787bc03086c6501ecf808a (MD5) / Esta dissertação tem como tema a relação entre teoria e prática da técnica dodecafônica em Adorno. Enfoca a crítica efetuada por Adorno à técnica dodecafônica no ensaio Schoenberg e o progresso, as noções de dessensibilização do material e de obra tardia e algumas peças musicais compostas por Adorno em seus anos de exílio na Inglaterra e nos EUA. Pretende com isso mostrar a afinidade existente entre a crítica teórica de Adorno ao dodecafonismo serial mais ortodoxo e o caráter idiossincrático dos procedimentos seriais e da concepção formal presentes em algumas de suas últimas composições. / This dissertation has as theme the relationship between theory and practice of the twelve-tone technique in Adorno's work. It focuses the critic made by Adorno to the twelve-tone technique in the essay Schoenberg and the progress, the notions of desensitization of the material and of late work and some musical pieces composed by Adorno in his years of exile in England and in the USA. It intends with that to show the existent likeness among Adorno's theoretical critic to the more orthodox twelve-tone technique and the idiosyncratic character of the serial procedures and of the formal conception present in some of his last compositions.