[I examensarbetet ingår utställningen "Cavatina":] Cavatina är ett känt musikstycke för gitarr, urspringligen filmusik till filmen "the deer hunter" komponerat av Stanley Myers. I videoinstallationen framförs stycket på klassisk gitarr med chansoperationer, med hjälp av tre tärningar som bestämmer hur strängarna ska stämmas om. Allteftersom stycket spelas förändras musikens karaktär. Teknik: Video Mått/längd på film/video: 19 min.

Jurgen Habermas argues for a paradigm change in critical theory from Theodor W. Adorno's philosophy of consciousness to his own linguistically-turned theory. Habermas claims that Adorno's conception of reason sets up an antagonistic relationship between subject and object that can only be overcome by a non-rational mimesis with nature. This thesis defends Adorno against Habermas, and argues that the linguistic turn is a mistake. Chapter 1 outlines Habermas's critique, and corrects some of his specific misunderstandings of Adorno. Chapter 2 offers a positive defense of Adorno. By means of an expanded notion of nature, Adorno shows how the relation between subject and object need not be the antagonistic one characteristic of so much of modern philosophy. Chapter 3 argues that it is not Adorno's dialectical thought, but Habermas's linguistically-turned critical theory that suffers from an inability properly to articulate the relation between subject and object.

This paper was revised and later published in The Other Journal, Issue 14 (January 27, 2009) http://theotherjournal.com/2009/01/27/earths-lament-suffering-hope-and-wisdom/ Accessed: June 25, 2013

This is a revised version of Lambert Zuidervaart's inaugural address presented on November 21, 2003, on the occasion of the author's taking up the position as professor at the Institute.

Orientador: Rosa Maria Feiteiro Cavalari / Resumo: A relação sociedade-natureza decorre, principalmente, da concepção de natureza que construímos ou, como afirma Bornheim, do “modo como o homem torna a natureza presente” (1985, p.18). A sociedade moderna ocidental tem “tornado a natureza presente” a partir de uma relação dicotômica. A partir de René Descartes e Francis Bacon, o conhecimento científico passou a ter uma função intervencionista, tornando-se necessário conhecer a natureza para dominá-la. O sucesso do projeto de Francis Bacon, no qual “saber é poder”, hoje ameaça a biosfera (Giacoia Junior, 2004) e exige reflexões e ações para a superação da crise socioambiental. É o que Hans Jonas (2006) denominou de “dialética do poder”. A esta perspectiva de conhecimento, enfatizada no século XIX pela ciência positivista, a “Teoria Crítica” elaborada pela Escola de Frankfurt, que tem Theodor Adorno como um de seus principais pensadores, se opõe radicalmente. Da mesma forma, afirmamos que a atual crise socioambiental não pode ser resolvida por meio da ciência e da tecnologia, mas torna-se, fundamentalmente, uma questão política (BORNHEIM, 1985). Neste sentido, compreendemos a Educação e a Arte, em uma perspectiva política, fundamentais para a transformação da realidade. Para Adorno, em nossa sociedade predomina a “Semiformação”, que nos coloca sob a ameaça da barbárie, sendo a auto-reflexão crítica a única alternativa. No entanto, a auto-reflexão crítica, possibilitada pela teoria crítica da sociedade e cuja racionalidade ainda ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The relationship between society and nature derives mainly from the conception of nature that we construct or, as Bornheim asserts, "how man makes nature present" (1985, p. 18). Western modern society has "made the nature present " from a dichotomous relationship. Since Descartes and Bacon, the scientific knowledge started to have an interventionist function, being necessary the knowledge of nature to dominate it. The success of Francis Bacon's project in which points that "knowledge is power" threatens the biosphere nowadays (Giacoia Junior, 2004) and requires reflection and action to overcome the socio-environmental crisis. This is what Hans Jonas (2006) named as the "dialectic of power". The "Critical Theory" elaborated by the Frankfurt School, which has Theodor Adorno as one of its main thinkers, radically opposes to this perspective of knowledge, which was emphasized in the nineteenth century by the positivist science. Similarly, we affirm that the current socio-environmental crisis cannot be solved by science and technology, being fundamentally a political concern (BORNHEIM, 1985). Therefore, we understand Education and Art, from a political perspective, essential for the transformation of reality. For Adorno, in our society the "Semiformation" predominates, that puts us under the threat of barbarism, in which critical self-reflection is the only alternative. However, critical self-reflection, that was possible by the critical theory of society and whose rationality is ... (Complete abstract click electronic access below) / Doutor

Thesis advisor: Brian Robinette / This project seeks to critique the occupation of Palestine with the categories and methods of a critical theological aesthetics. The theological aesthetics employed here is critical because it develops Theodor Adorno’s aesthetic project: beauty is dialectical, historical, and, above all, negative. Beauty is negative as it is founded on renunciation: beauty renounces ugliness. Adorno’s project is advanced through an encounter with Christ. Christ, as witnessed on the Cross, is the absolute fulfillment of negative beauty: Christ, who is absolutely personal, material, and relational, renounces renunciation itself. This fulfillment of negative beauty demands engagement and participation: to follow Christ is to do beauty; it is to renounce ugliness in a beautiful way. The occupation of Palestine, especially revealed through the phenomenon of suicide bombing, stands as an unsettling and dark ugliness. Because the occupation is funded and supported by so-called Christian Zionists, it is an occupation that challenges that character of God. Because occupation works aesthetically to occupy flesh and relationship, it is an occupation that desacralizes the living image of God. This demands prompt renunciation and beatification. / Thesis (MA) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Thesis (Ph. D.)--University of California, San Diego, 1981. / Vita. Includes bibliographical references (leaves 368-376).

Thesis (Ph. D.)--University of California, San Diego, 1981. / Vita. Includes bibliographical references (leaves 368-376).

Theodor Wiesengrund Adorno, un dels principals filòsofs del segle XX, va desenvolupar una filosofia moral que mai no va arribar a exposar de manera sistemàtica en cap obra explícitament dedicada a ella, sinó només de forma fragmentària en diversos llibres sobre altres matèries. Aquesta tesi és un intent de reconstruir dita teoria moral.Aquesta tesi defensa que el cor de la teoria ètica adorniana és la formulació del Nou Imperatiu Categòric, proposat en el seu llibre Dialèctica Negativa, i que és una crítica i una resposta a l'Imperatiu Categòric formulat per Kant. La tesi explora quins canvis de categories morals permeten passar del vell imperatiu al nou, i analitza en detall les noves categories morals adornianes. Construït així el centre de la seva teoria, aquest treball va aprofundint en un ordre sistemàtic en tots els problemes abordats per l'autor, recollint tant les seves crítiques a altres pensadors com les influències que va rebre. També estudia de quina manera l'experiència del nazisme, la segona guerra mundial, i l'exili que va patir als EUA van marcar una filosofia que es pot llegir com una resposta a les catàstrofes del segle XX.Finalment, per la manera tan innovadora com aquesta filosofia incorpora en l'ètica els problemes del pas del temps i de la relació amb el passat, tant dels individus com de la societat o la cultura, i per la seva resposta a les filosofies de la història, aquesta tesi conclou que la filosofia ètica de T.W. Adorno es pot llegir en realitat com una filosofia de la memòria. / Theodor Wiesengrund Adorno, one of the main philosophers of the twentieth century, developed a very interesting moral philosophy, but he never explained it in a systematic way in any specific book on this subject. He only exposed it in a fragmentary form in several books on another matters. This dissertation aims to reconstruct his moral theory as a whole.This dissertation defends that the heart of the moral theory by T. W. Adorno is the formulation of the New Categorical Imperative, which is proposed in his book "Negative Dialectics", and which is a criticism and a response to the Categorical Imperative by Kant. First, it investigates which change of moral categories has to replace the old imperative by the new one, and second, it analyses in detail the new moral categories of T. W. Adorno. After building the center of the theory, this work studies in depth and systematically all the moral problems examined by this author, and examines his criticism to other philosophers and the influences which he received. This work also examines how the experience of nazism, the Second World War and the exile in USA determined his philosophy, which can be read as an answer to the catastrophe of the twentieth century. Finally, because of the innovative form in which this philosophy deals with the problem of time and the relationship that people and also the societies and cultures have to the past, and because of his answer to the philosophy of history, this dissertation concludes that the moral philosophy of T. W. Adorno can be read as a philosophy of memory.

Ce mémoire conçoit l'art comme rapport particulier au monde et mode de connaissance autre. Son objectif était de découvrir ce qui, dans la création comme dans la réception de l'oeuvre d'art, fait que nous sommes emportés ailleurs, que notre perception du monde s'en trouve ébranlée, et que son expérience provoque une transformation et un élargissement du sujet. Il visait à créer les conditions favorables à la réalisation d'un espace de liberté où nous pouvons enfin percevoir, éprouver, connaître le monde autrement. Liberté nécessitant une destruction et une reconstruction continuelle de soi: mouvement que produit le véritable rapport à l'altérité. Le premier chapitre ausculte quelques conditions artistiques essentielles à cette liberté telles qu'énoncées par le philosophe Theodor Adorno dans sa Théorie esthétique et auxquelles répondent certains artistes contemporains dans leurs pratiques artistiques respectives. Il circonscrit différents types de rapport à l'autre rendus possibles par l'art, notamment le rapport de l'art à la réalité empirique et à la rationalité, le processus de création de l'artiste ou l'artiste devant sa propre oeuvre, la confrontation acteur-spectateur, et la confrontation oeuvre-spectateur. La deuxième partie fait un retour sur la mise à l'épreuve scénique de cette réflexion. Elle relate, dans un premier temps, ses fondements, c'est-à-dire la praxis singulière des gens qui ont contribué à sa création, et donne un bref synopsis de la pièce créée. Elle expose, dans un deuxième temps, quelques méthodes de création utilisées au niveau de l'approche corporelle, musicale et symbolique, ainsi que les principes qui nous ont guidés et certaines problématiques soulevées par le processus. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art, Altérité, Rationalité, Mimésis, Création.