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La presente tesis toma como punto de partida un desafío planteado por Theodor Adorno, el cual sugiere que una investigación teórico-crítica capaz de romper con el velo ideológico del capitalismo tardío tendría no solo que interrogar a la normalidad imperante, sino también exponer que dicha concepción social de lo normal y de lo saludable se encuentra en el origen mismo de la enfermedad de la época. En efecto, ¿cómo entender la idea de que la salud es constitutiva de lo socialmente patológico?, ¿cómo reconstruir, hoy en día, esta interrelación contradictoria entre salud y patología social? Frente al énfasis que el debate contemporáneo en Teoría Crítica le ha otorgado al concepto de patologías sociales y, asimismo, frente a la ausencia de una teorización efectiva del concepto de salud social, mi tesis sostiene que, para abordar el desafío de Adorno, la crítica de las patologías sociales tiene que realizarse al mismo tiempo como una crítica de la salud social. Así pues, mi objetivo consiste en delinear una vía de investigación posible para reconstruir, teorizar e incluso problematizar la interrelación contradictoria que Adorno acusa entre lo socialmente saludable y lo socialmente patológico. Para ello, en el primer capítulo elaboro una reconstrucción del concepto de patologías sociales en tanto bloqueos ideológicos de segundo orden que distorsionan la relación de los individuos con sus propias experiencias de sufrimiento social. En el segundo capítulo, examino las implicancias de una crítica de las patologías sociales en términos de una crítica de la privatización del sufrimiento y de la normalidad enferma, así como de la tendencia contemporánea de los actores sociales por desarrollar respuestas adaptativas individuales a las condiciones estructurales que se encuentran detrás de sus experiencias de sufrimiento. En el tercer capítulo, esbozo de manera tentativa una crítica de la salud social desde una reconstrucción histórica de los conceptos de normalidad, salud y normatividad.

No description available.

À travers l'examen de plusieurs critiques de la raison instrumentale, ce mémoire cherchera à déterminer s'il en est une qui soit le mieux à même de répondre de la complexité de la société occidentale moderne. Tout d'abord, la problématique sera introduite avec la lecture de Max Weber proposée par Jürgen Habermas. Il sera question chez Weber du phénomène de la rationalisation de la société. Partant de l'évidence que la sphère cognitive-instrumentale de la raison s'impose fortement dans la modernité, notamment par le complexe monétaire-bureaucratique, il s'agira d'expliquer, en revenant sur le processus historique du désenchantement du monde, comment la rationalité par rapport à une fin a-t-elle pu devenir aussi dominante dans nos institutions sociales? Ensuite, la critique de la réification de Max Horkheimer et Theodor W. Adorno sera abordée. Elle voudra montrer que la raison est totalitaire dans son essence; la raison a toujours produit de la domination et de la violence dans tous ses rapports: à la nature, à la société et à la subjectivité. Depuis le tout premier mot de l'homme, mana, jusqu'à l'Aufklärung en passant par le mythe, la raison est totalitaire. Enfin, Jürgen Habermas proposera un changement de paradigme qui, selon lui, est nécessaire pour dépasser le concept de raison réduit à son seul potentiel cognitif-instrumental. C'est dans le paradigme du langage que Habermas trouvera les ressources manquantes pour saisir le riche potentiel de la rationalité communicationnelle. Puis, grâce à ce nouveau paradigme, il pourra adéquatement conceptualiser les deux niveaux qui composent la société moderne: le système et le monde vécu. C'est seulement après avoir considéré l'importance du rôle que joue le système pour la reproduction matérielle et le monde vécu pour l'intercompréhension que Habermas abordera la colonisation systémique du monde vécu, une critique de la raison instrumentale nuancée et représentative de l'ambivalence qui caractérise la société moderne.

As the Second World War in Europe came to an end the Russians advanced from the east towards Berlin. German occupation of Poland and Czechoslovakia had been particularly brutal. Both of these countries, products of German defeat at the end of World War I contained millions of ethnic Germans, who had previously co-existed with their Slav neighbours, often for many centuries, but were now perceived by these neighbours as having encouraged and collaborated with Nazi Germany. Russians, Poles and Czechs now sought revenge triggering the largest forced expulsion in recorded history. Somewhere between 8 and 16.5 million ethnic Germans fled to the west, and between 2 and 3 million perished during flight. Expellee property was subsequently seized by the Poles and Czechs. In broad terms, until the 1990s these events were seen within Germany as part of a submerged collective memory, suppressed in part by their having lost the war. In the last 20 years with an increasingly powerful expellee organisation (the Bund der Vertriebenen, Federation of Expellees) influencing mainstream German politics, academia, and the German media, an attempt has been made to change historical memory, or rewrite what has been referred to as an 'unacceptable past'. This, in recent years has led to claims by former expellees against the Czech Republic, and Poland for restitution. This in itself has led to bitter accusations by these countries that the expellees have rewritten German history portraying themselves as victims of the Second World War. This thesis explores the methods employed by the expellee groups and their supporters in the restructuring of their historical memory by examining literature dating from the 1950s until the present day from primarily German and American sources, as well as German television documentaries from 2000. These sources are considered in relation to how collective and historical memory have evolved into a position that has allowed the expellees to create an 'acceptable past'.

“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle. / “A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” defends Adorno’s aesthetics as a theory of advanced, or avant-garde, artworks. Its seven chapters show that aesthetic experience implies liberation from illusion (Schein). Chapter I engages a dialectic of viewpoints to explain how different dialectical thinkers (Marx, Lukács, Hegel, Horkheimer, Adorno) have contributed to a criterion of truth adequate to today’s total delusional context of reification—determinate negation of illusion. Chapter II introduces the concept of artistic aesthetic illusion—a reversible illusion opposed to the social illusions of mechanical musical reproduction and of the culture industry. Chapter III examines the question of whether truth in philosophy is a different kind of truth than truth in art. Chapter IV considers whether truth in twentieth-century Expressionism is a new truth based on immediate expression, in light of an important precedent for Expressionism in Robert Schumann’s “Der Dichter spricht.” Chapter V determines whether inorganic montage is more advanced than Expressionism. Chapter VI takes up a parting suggestion of Peter Bürger: to treat artworks after Dada and Surrealism on the model of “prose” in Hegel’s aesthetics. Chapter VII pursues the idea that Dichterliebe, op. 48, (1840) by Robert Schumann is a true artwork. Three results emerge from this close musical analysis: (1) exploiting, on occasion, an ambiguity in the rules for figuration that permits all twelve tones in the harmony, Schumann anticipates Schoenberg; (2) Op. 48, No. 1 is in a hidden key: to all appearances, its key is either A major or F-sharp minor, but its secret key is the Neapolitan region applied to C-sharp major; (3) the other “half” of the cadence with which Op. 48, No. 1 breaks off suddenly may be found in a brief applied-Neapolitan passage in No. 12. The thesis argued is that the antiorganicity in such a work is advanced with regard to the false reality of 1930s Germany and the place of organicity therein. According to Adorno, the only life-praxis afforded by art is remembrance. But the social effect of remembering social suffering is considerable when the Here-and-Now is its own justification.

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

This thesis explores the ideological underpinnings of political soteriological discourse. Through analyzing key texts in liberation theology, using critical theorists such as Theodor W. Adorno and Wendy Brown, I aim to understand to how this soteriological discourse respond to the predicaments that afflict theology in modernity – and to explore the ideological issues with these responses. I then turn to present day Swedish theological conversations concerning salvation and its political use, in order to discuss whether the issues exposed in liberation theology can be considered to continue to be a problem for the present discussion. I also discuss the ethical and theological obstacles connected to the translocation of liberation theology from the Latin America of the 60’s, 70’s and 80’s to present day Sweden, or, in other words: from an exploited continent in protest against imperialism and capitalism, to the continent guilty of so much of the suffering that Latin American liberation theology condemned. What does it mean to turn to liberation theology in this context? I find, in this discourse, a certainty and assuredness concerning the salvation of all, which I find to be at least in part ideologically grounded. Instead, I suggest another direction for political revolutionary soteriology: to unsettle and disturb the modern image of the God-like man; to reconnect with the prehistoric fear of nature through a vigilant and restless immanent critique and through the subversive act of rituals and sacrifice.

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

Texte remanié de : Dissertation : ? : Universität Tübingen : 2006. / Bibliogr. p. [599]-621. Index.