L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

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XAVIER, Monalisa Pontes. Tecendo saberes, articulando alianças: um estudo sobre a subjetividade contemporânea a partir das Contribuições de Adorno e de Guattari. 2009. 165 f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2009. / Submitted by moises gomes (celtinha_malvado@hotmail.com) on 2012-04-02T18:40:19Z No. of bitstreams: 1 2009_Dis_MPXavier.PDF: 1065113 bytes, checksum: 51210cb4c6b5161f1e528c5e3f2dda52 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-04-17T11:19:41Z (GMT) No. of bitstreams: 1 2009_Dis_MPXavier.PDF: 1065113 bytes, checksum: 51210cb4c6b5161f1e528c5e3f2dda52 (MD5) / Made available in DSpace on 2012-04-17T11:19:41Z (GMT). No. of bitstreams: 1 2009_Dis_MPXavier.PDF: 1065113 bytes, checksum: 51210cb4c6b5161f1e528c5e3f2dda52 (MD5) Previous issue date: 2009 / The present work aims at developing a study of the contemporary subjectivation processes, departing from the influence of the capitalist system on them. For so, a theoretical articulation will be drawn among the writings of Theodor W. Adorno – frankfurtian theorist – and Félix Guattari- theorist and institutional analyst, who acts in several domains: psychiatry, anthropology and politics. Such thinkers based their studies on subjectivity, distinctive moments of the capitalist system of production and consumption. In such articulation, we take the concepts of “individualization” and “singularity” developed by Adorno and Guattari, respectively. Therewith, we aim, by opposing the ideas of the authors, to increase the understanding over the process of constitution of contemporary subjectivity, as well as to perceive the existence of “individual” and/or “singularized” existence. It was developed a theoretical research ruled in bibliographical review of the respective authors’ writings as well as of other speakers who made possible the enrichment of understanding concerning the object of study. To reach the proposed goal, we followed some steps: in the first chapter we exposed a possible intersection between Adorno and Guattari, departing from the philosophical tendency of the ontology of the present; in the following chapter, we discussed Adorno’s theory and the process of individuation; then we went through the Guatarri’s theory and the singularization movement; at last, we looked up articulations and tried to catch a glimpse into alliances between the two theorists. By the end of the research we emphasized the need to consider each of the theories in accordance with the Theoretical-Philosophical tradition to which it is affiliated. Therefore, it is made impossible a logical articulation among what the two of them have as important for the understanding of our object. Nevertheless, it is departing from the tension and contradiction existing among them that we can reach a better understanding concerning the processes of subjectivation in the present days, which is not that about which Adorno’s reflexions would be devoted to neither the same proclaimed by Guattari. / Essa dissertação tem como proposta desenvolver um estudo dos processos de subjetivação contemporâneos a partir da influência que o sistema capitalista exerce sobre eles. Para tal, será traçada uma articulação teórica entre alguns escritos de Theodor W. Adorno – teórico frankfurtiano – e de Félix Guattari – analista institucional e teórico atuante em diversos domínios: psiquiatria, antropologia, política –, pensadores que pautaram seus estudos sobre a subjetividade em momentos distintos do sistema capitalista de produção e consumo. Nessa articulação, tomamos os conceitos de “individuação” e de “singularização”, desenvolvidos por Adorno e por Guattari, respectivamente. Com isso, objetivamos, no contraponto das idéias dos autores, ampliar a compreensão sobre o processo de constituição das subjetividades contemporâneas, bem como perceber a possibilidade de existência de subjetividades “individuadas” e/ou “singularizadas”. Foi desenvolvida uma pesquisa teórica, pautada na revisão bibliografia dos escritos dos respectivos autores, bem como de outros interlocutores que possibilitaram o enriquecimento da compreensão acerca do objeto de estudo. Para alcançar o objetivo proposto, seguimos os seguintes passos: no primeiro capítulo expusemos uma possível interseção entre Adorno e Guattari a partir da corrente filosófica da ontologia do presente; no capítulo posterior, discutimos a teoria adorniana e o processo de individuação; em seguida, passamos para a teoria guattariniana e o movimento de singularização; e, por fim, buscamos estabelecer articulações e vislumbrar alianças entre os dois teóricos. Ao final do trabalho, enfatizamos a necessidade de considerar cada uma das teorias segundo a tradição teórico-filosófica a que se encontra filiada. Assim, torna-se impossível uma articulação harmônica entre o que as duas trazem de importante para a compreensão de nosso objeto. No entanto, é a partir da tensão e da contradição existente entre elas que podemos alcançar uma melhor compreensão a respeito dos processos de subjetivação nos dias atuais, que não é mais aquele sobre o qual se ocupavam as reflexões de Adorno e nem o mesmo proclamado por Guattari.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T14:56:13Z (GMT). No. of bitstreams: 1 Tinti_TauanFernandes_M.pdf: 690660 bytes, checksum: f383a642a724f05ed1c7d2d14b1d9166 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura de Fim de Partida, de Samuel Beckett, construída a partir da hipótese de que esta peça, com o que pode ser definido como uma recusa sistemática a tudo o que lhe venha de fora, é capaz de integrar à sua própria estrutura formal os impasses gerados pelas tentativas de interpretá-la, em um movimento que paradoxalmente fortalece cada vez mais sua lógica interna à medida que a interpretação é negada. Ao longo de três capítulos, busca-se investigar as diferentes ramificações dessa ideia como forma de esboçar a posição-limite na qual a peça se encontra: no primeiro capítulo, a hipótese em questão é desenvolvida a partir da leitura de alguns objetos de Fim de Partida, e a partir disso se argumenta que os personagens se aproximam mais de seus objetos fraturados e ausentes do que de pessoas; no segundo, a condição desses personagens é desenvolvida no sentido de um confronto entre duas formas de temporalidade, a progressão e a circularidade, submetidas ao mesmo princípio de escassez que atravessa outros níveis da peça; no terceiro capítulo, a hipótese central é a de que em Endgame são colocados em questão diversos procedimentos do humor de forma altamente destrutiva, e a significação retroativa que seus destroços passam a ter adquirido nesse processo podem ser extrapolados de modo a produzir um pequeno vislumbre, de dentro da própria peça, tanto de seu estatuto de obra de arte, quanto de sua relação complexa com a tradição / Abstract: This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.

Detta arbete har strävat efter att undersöka vilka funktioner resultaten av en litteraturvetenskaplig analys av Harry Martinsons Aniara kan utgöra för att bemöta Wolfgang Klafkis fem didaktiska frågor. Frågeställningar i arbetet är formulerade utifrån Skolverkets beskrivning av lärarens dubbla uppdrag. Primära teorier som tillämpats i undersökningen har utgjorts av C. G. Jungs arketypteori med Skuggan i förgrunden samt Theodor W. Adornos idébildning om den dialektiska relationen mellan ekonomiska förutsättningar samt mänskliga handlingar och den ideologiska prägel det har på litteraturen. Ansatsen har varit hermeneutisk i främst Hans-Georg Gadamers anda, med inslag av Paul Ricoeurs tankeschema. Tillvägagångssättet har varit av litterärt tolkande slag innebärande att material som relevant forskning inom det didaktiska fältet samt den skönlitterära analysens underlag lästs och begrundats. Undersökningen har visat en relevans för kritisk-konstruktiv didaktik inom litteraturundervisningen.

Die Beschäftigung mit dem Werk »Die Ästhetik des Widerstands« des Schriftstellers Peter Weiss ist in der Theaterwissenschaft noch nicht hinlänglich erfolgt. Die vorliegende Dissertation möchte diesem Umstand entgegenwirken. Dabei wird besonders die literarische und gesellschaftliche Wichtigkeit und Aktualität des Werkes hervorgehoben. »Die Ästhetik des Widerstands« ist von essentieller Bedeutung, sowohl literarisch, als auch gesellschaftlich. Die Lektüre des Romans verdeutlicht die Wichtigkeit von Theorie, sowohl für eine politische Praxis, als auch für eine Autonomie von Forschung in Anlehnung an die Kritische Theorie. Die Romanfiguren der »Ästhetik des Widerstands« nutzen Museen, Bibliotheken und Alltagsräume, um sich Refugien gegen die Barbarei des Nationalsozialismus zu schaffen. Mittels Kunst- und Bildbeschreibungen wird eine enge Verknüpfung von Kunst und Umwelt, sowie von Fragilität sowohl bezüglich der Kunstwerke selbst, als auch bezüglich des physischen und psychischen Zustände der Protagonisten ersichtlich. Dies gilt insbesondere für das lebendige, filmische Erzählen des Werks, das die an sich statischen Kunstwerke in eine neue Autonomie überführt. In Zeiten eines faschistischen Europas und nationalsozialistischen Deutschlands ist die Kunst die einzige Konstante in Wahrnehmung und Leben der Romanfiguren. So ist sie notwendiger Wegweiser und Koordinate gegen Gewalt und Tod. Besonderheiten der Narration, wie beispielsweise eine Technik der endlosen Aufzählung von Kultur und Kunst, machen den prekären und omnipräsenten Weltverlust der Protagonisten erfahrbar. Hierfür spielt die Sprache des Romans als eine Sprache des Berichtens und des Indirekten eine wesentliche Rolle. Kunst politisch zu lesen bedeutet des Weiteren Geschichte nicht als vergangen zu betrachten, sondern vielmehr ihren gegenwärtigen Gehalt für eine widerständige Praxis produktiv zu machen. Hierfür untersucht die Arbeit auch anhand der geschichtsphilosophischen Thesen Walter Benjamins das Geschichtsbild der »Ästhetik des Widerstands« sowie des Autors Peter Weiss. Neben der Kunst ist es vor allem die urbane Umwelt, die die Romanfiguren in ihrem Denken und Handeln prägt. So ist der Roman jenseits der Bildbeschreibungen durchsetzt von schweifenden, essayistischen Darstellungen von (Stadt)Landschaften. Zusätzlich zu der ehemaligen Heimat Deutschland, die alsbald zum Feindesland wird, ist es das Exil, das mit seiner Fremdheit Eindruck bei den Protagonisten und beim Leser hinterlässt. Hierbei wird ebenfalls eine Technik der Aufzählung angewandt, wenn es um Wege, Plätze und Straßen als notwendige Konstante für Halt und Ausdauer geht. Das Ver- und Durchmessen von gefahrvollen, fremden Umgebungen sind dabei ebenso relevant, wie der Verlust der eigenen Muttersprache. Die unterschiedlichen Ebenen von Sprache spielen in der »Ästhetik des Widerstands« eine entscheidende Rolle. Diese Ebenen untersucht die vorliegende Arbeit. Das Nebeneinander von berichtender, historischer, poetischer und surrealer Sprache ist dabei von Bedeutung. Techniken der Überblendung und des filmischen Erzählens und die Notwendigkeit einer autonomen Sprache, um der Barbarei des Nationalsozialismus entgegenzuwirken, rücken dabei ebenso in den Fokus, wie die Schwierigkeit von Lektüre und Schreibprozess der »Ästhetik des Widerstands«. Der Roman samt seinen Figuren nimmt immanent und selbstreferenziell auf sich Bezug, indem das Schreiben an sich als Akt des Zeugnisses wider des Mordens in den Mittelpunkt gerückt wird. Die Sprache des Traumes und der surrealen Momente in der »Ästhetik des Widerstands« illustrieren zusätzlich Todesnähe und Realitätsflucht. Neben diesen Beobachtungen offenbaren sich Grenzen von Mitteilbarkeit und Sprache, die den Versuch eines psychischen wie physischen Begreifens der Shoah darstellen. Die vorliegende Dissertation untersucht dabei besonders die Figur der Mutter des Protagonisten, die sich als Nicht-Jüdin ab einem bestimmten Punkt an den Ausmaßen des Massenmordes durch erhöhte Empathie zerbricht. Bis in die Gegenwart bestehen Kontinuitäten des Nationalsozialismus und Antisemitismus. Diese werden anhand von Texten Dan Diners zum Historikerstreit der 1980er Jahren ausgearbeitet. Der sogenannten deutschen “Vergangenheitsbewältigung“ wird mit Hilfe von Schriften Jean Amérys, Dan Diners und Theodor W. Adornos kritisch nachgegangen und mit der »Ästhetik des Widerstands«, sowie einer eigenen politischen Praxis verbunden.:INHALT 1. DAS NACHLEBEN DER »ÄSTHETIK DES WIDERSTANDS« EINLEITUNG……………………………………………………………………………..6 2. DIE DYNAMIK DER BILDER 2.1. Museumsbesuche und Reflexionen……………………..………….……..........13 2.2. Bildbeschreibungen für Orientierung und Halt…………..……………..............17 2.3. Das Lebendige in der Statik………………….……………………….……..........45 3. DAS MÄANDERN ZWISCHEN DEN POLEN KUNST UND POLITIK 3.1. Die Notwendigkeit der Kunst……………………….…………………..…...........60 3.2. Erfahrungen mit Kunst - Sensibilisierung von Widerständigkeit…….…..........74 3.3. Gegen den Strich – für den Widerstand……………………………………........82 4. DAS UMHERSCHWEIFEN ZWISCHEN LÄNDERN, STÄDTEN UND STRAßEN 4.1. Kartografien des Flüchtigen in Berlin und anderswo………..….............…......91 4.2. Aufbruch und Exil – Ein Leben im Fragment……………...……………...........104 5. DAS WEGGLEITEN UND AUFDRÄNGEN DER SPRACHE 5.1. Gleich-zeitigkeit - Montage und Überblendung…………..…………...….........114 5.2. Lektüre und Schreiben als Erfahrung………………….…………..….…..........127 5.3. Die Bedeutung von Sprache und Poesie………..…………………..……........140 6. ENTGRENZUNGEN DER VERSEHRTHEIT 6.1. Grenzerfahrungen und Traumbeschreibungen…………….…………...…......152 6.2. Die Unendlichkeit des Romans……………………………….…...………........164 6.3. Erweitere Wahrnehmung eines beschädigten Lebens……………..………...174 7. WER EIN WORT DES TROSTES SPRICHT, IST EIN VERRÄTER SCHLUSSBETRACHTUNG…………………………………………………………..204 8. ANHANG 8.1. Literatur……………………………………..………………..………...…............214 8.2. Abbildungen………………………………...……………………….……............221 8.3. Erklärung………………………………………………………………….............240

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Ce mémoire vise à explorer le thème de l’attention au sein de deux corpus théoriques : la philosophie de T.W. Adorno et les éthiques du care. L’attention est ici à comprendre comme une notion à la fois épistémique et morale, comme le moment de connaissance de l’autre et de ses besoins, qui vise et permet une réponse adéquate. Dans un premier temps, nous explorons le concept chez trois penseuses : Simone Weil, dont la notion d’attention a été influente dans les théories du care, qui s’y réfèrent fréquemment, puis Nel Noddings et Joan Tronto, deux éthiciennes du care. Malgré leurs différences, nous défendons que ces trois conceptions se rejoignent sur deux points : 1. l’attention y est considérée comme une disposition morale importante et 2. elle se caractérise par une attitude subjective de détournement de soi, de réceptivité et d’ouverture. Dans un second temps, nous retraçons les thèmes de la pensée d’Adorno à même d’esquisser ce en quoi consiste une attention juste aux besoins d’autrui. Plus précisément, nous abordons ses considérations sur les rapports de connaissance entre sujet et objet, et nous offrons une lecture de ses thèses sur le besoin. Par-là, nous entendons défendre que la philosophie adornienne offre des nuances intéressantes à la manière dont le thème de l’attention est théorisé dans le corpus du care : elle invite à une réflexion critique du sujet attentif sur lui-même, et à une compréhension du besoin comme pointant vers les relations sociales qui le produisent. Ainsi, elle approfondi le potentiel critique d’une théorie de l’attention. / This master’s thesis explores the theme of attentiveness within two theoretical corpuses: the philosophy of T.W. Adorno and the ethics of care. Attentiveness is to be understood here as both an epistemic and a moral notion, as the moment of knowledge of another and of his or her needs, which aims and allows for an adequate response. First, I explore the concept in three thinkers: Simone Weil, whose notion of attentiveness has been influential in care theories, which frequently refer to it, and then Nel Noddings and Joan Tronto, two care ethicists. Despite their differences, I argue that these three conceptions converge in two respects: 1. attentiveness is regarded as an important moral disposition; and 2. it is characterized by a move away from the self, a subjective attitude of receptivity and openness. Secondly, I retrace themes in Adorno's thought which may be relevant in outlining what constitutes a just attentiveness to the needs of others. More specifically, I address his considerations on the relation of knowledge between subject and object, and offer a reading of his theses on need. By so doing, I intend to argue that Adorno’s philosophy offers interesting nuances to the way in which the theme of attentiveness is theorized in the corpus of care: it invites to a critical reflection of the attentive subject on itself, and to an understanding of needs as pointing towards the social relations producing it. In this way, it deepens the critical potential of a theory of attentiveness.

This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures – Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture – it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt’s and Sontag’s relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition. With Arendt and Sontag, I discuss the critic’s task in terms of citational style and as a matter of taking care of literary traditions beyond national borders. As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin’s estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt’s portrait made Benjamin’s work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin’s, granting even unfamiliar readers access to Benjamin’s complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways. Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag’s comprehensive study of Arendt’s work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag’s part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a “hidden tradition” – consisting in stylistically visible yet inexplicit commonalities – I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as “surface” versus “depth” reading, “description” versus “interpretation” or “affirmation” versus “suspicion.” Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.