Made available in DSpace on 2017-07-10T18:26:27Z (GMT). No. of bitstreams: 1 Paulo Ricardo Schulz.pdf: 806529 bytes, checksum: af519be55ff872c5c8564cd2698da025 (MD5) Previous issue date: 2011-08-05 / The paper seeks to analyze the contradiction/conflict that emerges between the cultural formation and the cultural industry, considering as a start TW Adorno thoughts, and it points to education as the one which can contribute to the autonomy of the individual conscience who lives inside the capitalist society, land where flourishes the conflict between the cultural formation and the cultural industry. It's inquired to describe the cultural formation as result of dialectic development of human civilization. It's shown that the period of mythic human thought already had some rationality, since this period, when giving names to the unknown and formulating explanatory stories to natural phenomenons already sought to control the line of nature. The period of logical and rational thought arises, therefore, on one side, as mythical thought overcoming, because the technique, which is the essence of this knowledge, takes refuge with the Mathematics, formulas, rule and probability to destitute all and every evidence of myth. This rational and technical moment also preserves in itself, however, something of mythological, cause it starts to enrapture the number, the formulas and the rule, mental creations which are the substitutes of the concepts that guided the mythical period. Men when expressing their subjectivity and with the desire of dominating the nature, created the divinities as in mythical period as in rational period and, in both of them, the periods turned to adore the work of their own hands. The reason that is described as the agent of cultural formation, acts dialectically in two levels: Virstand/subjective and Vernunft/objective, however, due to the reason instrumentation, this dialectic hasn't maintained itself, and this was one of the factors that has hindered the cultural formation and consequently the subject majority and autonomy. The support of mythological character in a time considered completely enlightened can be evidenced by cultural industry. It´s through it where everything gets to be submitted to market fetishism and its demands. This industry is analyzed like the union of radio, television, cinema and ideology. It pursues to standardize everything around itself, aiming to turn everything into merchant, even people´s will and the education. The leisure and recreation are also manipulated and became mere entertainment which obliterated the imagination and reason. The cultural and education reduction to a semi culture (H albbi ldung ) lent to the cultural industry a cultural formation appearance, but that, in fact, is only a so-called formation. The education, inside this quarrelsome context, however, can collaborate significantly to the awareness and emancipation insofar it reestablishes a proper dialectic between subjective and objective reason. A centric challenge is, therefore, to evince the artifices,veils, torches and magics that, in an absolute light age, daily obstruct the critical and autonomous individuals formation . This way, even when not requiring the overcoming of current society to inside its limits, the education can be designed as a space of resistance, a refuge of freedom , able to contribute to subjects formation who can really make choices, think and act in a free way. / O trabalho busca analisar a contradição/conflito que surge entre a formação cultural e a indústria cultural a partir do pensamento de T W Adorno e aponta a educação como aquela que pode contribuir para a autonomia da consciência do sujeito que vive na sociedade capitalista, solo no qual floresce o conflito entre a formação cultural e a indústria cultural. Busca-se descrever a formação cultural como resultado de um desenvolvimento dialético da civilização humana. Mostra-se que o período do pensamento mítico da humanidade já continha certa racionalidade, pois esse período, ao dar nomes ao desconhecido e formular histórias explicativas para os fenômenos naturais, já buscava controlar o curso da natureza. O período do pensamento lógico e racional surge, portanto, por um lado, como superação do pensamento mítico, porque a técnica, que é a essência desse saber, se vale da matemática, das fórmulas, da regra e da probabilidade para destituir todo e qualquer vestígio de mito. Esse momento racional e técnico também mantém, no entanto, em si algo de mitológico, porque passa a endeusar o número, as fórmulas e a regra, criações mentais que são os substitutos dos conceitos que regiam o período mítico. Os homens, ao expressarem sua subjetividade e no afã de dominar a natureza, criaram os deuses tanto do período mítico quanto do período racional e, em ambos os períodos, passaram a adorar a obra de suas próprias mãos. A razão, que é descrita como o agente da formação cultural, trabalha dialeticamente em dois níveis: Verstand/subjetiva e Vernunft/objetiva, no entanto, devido à instrumentalização da razão, essa dialética não se manteve, e esse foi um dos fatores que impediram a formação cultural e, consequentemente, a maioridade e a autonomia do sujeito. A manutenção do caráter mitológico em uma época que se considera plenamente esclarecida pode ser evidenciada pela indústria cultural. É através dela que tudo passa a ser submetido ao fetichismo do mercado e às suas exigências. Essa indústria é analisada como a união entre rádio, televisão, cinema e ideologia. Ela busca padronizar tudo à sua volta, a fim de transformar tudo em mercadorias, inclusive a vontade das pessoas e a educação. O lazer e a diversão também são instrumentalizados e se transformaram em meros entretenimentos que obliteram a imaginação e a razão. A redução da cultura e da educação a uma semicultura (Halbbildung) emprestou à indústria cultural uma aparência de formação cultural, mas que, na verdade, é apenas uma pseudoformação. A educação, dentro desse contexto conflituoso, no entanto, pode colaborar de modo significativo para a conscientização e a emancipação, isso na medida em que restabelece uma dialética adequada entre razão subjetiva e objetiva. Um desafio central é, pois, evidenciar as artimanhas, os véus, as teias e as magias que, em plena época das luzes, diariamente obstaculizam a formação de sujeitos autônomos e críticos. Assim, embora não requerendo a superação da sociedade atual para dentro de seus limites, a educação pode ser concebida como um espaço de resistência, um refúgio da liberdade , capaz de contribuir para a formação de sujeitos que possam de fato fazer escolhas, pensar e agir de forma livre.

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.

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.

La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie. / This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography.

Christ can be understood as a mirror, connecting humanity and God in his image into a hybrid entity, without eliminating the difference. The complex reality is mirrored through Christ transcending the border between subjectivity and objectivity, human and God, ourselves and others. This study is a form of constructive theology that aims to construct a transformative christological conceptual model, which can contribute to theology as a power critical epistemological deconstruction. It does this through the method of critical and comparative text analysis.  The study consists of two main sections, analysis and the discussion. The analysis section seeks to develop a theoretical frame, in which to generate a conversation between critical theorists Theodor Adorno and Gloria Anzaldúa on their view on epistemological oppression and liberation. The result is the development of an analytical concept called dialectics of the borders that exposes epistemological oppression as understood through the critical terms of oppression of objectivism and the suppressed gap. As an answer to the dialectics of border the analysis section develops the phrase dialectics of the gap, as an expression of epistemological liberation, which relies on such concepts as the shape of the gap, epistemological deconstruction, the hybrid entity, and transformative hybridity. The discussion section applies this theoretical frame to various christological concepts in order to create a new useful conceptual model. The constructed conceptual model is called incarnational epistemology and expresses an empowering critical epistemological reconstruction in Christ. The cross is understood as the explicit border between God and humanity, which is expressed by man's colonialization of dialectics. In Christ God transcends these epistemological borders and embodies the gap, as an expression for dialectics of the gap. For example it is demonstrated with the understanding of the body of Christ as the hybridization between subjectivity and objectivity and the sanctification as a reversed incarnation by the collective reconstruction of Christ in the border between subjectivity and objectivity. Hence, humanity as the body of Christ through sanctification can be understood as the mirrored image of Christ incarnating this epistemological reconstruction.

One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.

This dissertation examines professional wrestling in the U.S., in particular, live and television shows produced by the World Wrestling Entertainment (WWE). Through the examination, it addresses complex issues of authenticity, audience, commodification, and discipline in contemporary popular culture and media. I use three approaches in this study. First, I apply the theory of culture industry, developed by Theodor W. Adorno and Max Horkheimer, to understand WWE wrestling. I examine how the WWE thoroughly stylizes its products to attract fans and condition them to repeat the same calculable reactions. However, contemporary fans often refuse to react as the WWE wants them to. By analyzing the complex interplay between the WWE and fans, I update and re-contextualize Adorno and Horkheimer's idea that the culture industry exerts total control over consumers. Second, I examine the recent rise of "nonfictional" narratives in professional wrestling, narratives that candidly acknowledge wrestling's scripted nature. I demonstrate how the WWE uses nonfictional narratives to present fans new ways of finding realness in wrestling and respecting wrestlers. I also point out that, by utilizing both fictional and nonfictional narratives, the WWE has developed clever ways of balancing between offering controversial products and transmitting conservative and respectable messages to enhance its populist appeal. Third, I look at the history of professional wrestling through theories of modernity and postmodernity. I grasp it as a dynamic process in which wrestling has expressed its challenge against and ambivalence towards dominant ideologies, values, and masculinities of modernity in multiple ways. I also examine the predominance of obsessed subjectivities in contemporary WWE wrestling as a unique form of postmodern expression. I argue that obsessively competitive and self-destructive performances of WWE wrestlers illuminate the contradiction of the construction of modern "disciplined" subjects described by Michel Foucault. They also reveal that in the culture where pain and destruction of human beings are among the most desired objects, the WWE has to endanger real live bodies of its wrestlers in order to survive and thrive. WWE is a rich, problematic, and compelling cultural phenomenon that illuminates issues and contradictions of itself, and the system it belongs to.

Une traduction française des "Thèses sur le besoin" de Theodor W. Adorno accompagne la thèse (annexe). / La présente thèse analyse et contraste les positions de G.W.F. Hegel et de T. W. Adorno sur la nature de la pensée rationnelle et le sens de la pratique philosophique. Notre démarche consiste en une interprétation critique d’une idée que partagent Hegel et Adorno mais qu’ils développent différemment, selon laquelle la pensée rationnelle obéit à un certain besoin (Bedürfnis) qui lui est à la fois spécifique et universel. Hegel a parlé d’un « besoin de la philosophie ». L’expression est ambiguë : elle vise à décrire la nature générale de la pensée rationnelle mais aussi à exprimer la pertinence historique de la raison, c’est-à-dire sa capacité à assouvir des besoins concrets. Je démontre dans les cinq premiers chapitres que Hegel tente de réconcilier ces deux besoins en soutenant que l’identification par le concept est précisément ce qui permet d’appaiser la souffrance concrète que génère la division de l’histoire avec elle-même. La solution est en effet trouvée dans l’idée du savoir absolu, une posture de la pensée rationnelle tout aussi fondée dans la nature de la pensée elle-même que dans les aspirations de son autre, c’est-à-dire de l’histoire. Le savoir absolu est le point où chez Hegel coïncident la nature de la raison en général et la nécessité d’exprimer les besoins universels de l’histoire. Les chapitres six à neuf situent ensuite le déplacement épistémologique que propose la dialectique négative d’Adorno par rapport à cette conclusion de Hegel. Nous prenons soin de montrer qu’Adorno ne la juge pas fausse mais unilatérale. Il conçoit qu’exprimer et assouvir les souffrances historiques revient au concept mais il soutient en même temps que celui-ci échoue à cette tâche tant qu’on ne nuance pas la portée et la signification de sa « compulsion à identifier ». Nous démontrons que si cette dernière est d’après Adorno à la fois inévitable et fautive, c’est parce que le besoin qui motive la pensée rationnelle n’est pas d’abord la nécessité de concevoir l’unité dans la division mais celui de réaliser les conditions de la survie et du bonheur de l’organisme vivant qui soutient la pensée. Or pour Adorno, la société capitaliste bloque les pratiques émancipatrices qui s’attachent à combler ce besoin matériel parce qu’elle absolutise le principe d’identité. Nous soutenons que, dans ce contexte, l’approche adornienne de la philosophie comme relevant de l’essai (Essay) et développant des concepts discontinus orientés vers le non-identique n’est pas moins, mais plus rationnelle que la posture hégélienne qui considère la philosophie comme une science absolue. / This thesis analyzes and contrasts G. W. F. Hegel’s and T. W. Adorno’s positions on the nature of rationality and the task of philosophy. Its central aim is to offer a critical interpretation of a thought shared but interpreted differently by both thinkers, namely, that philosophy proceeds from a certain need (Bedürfnis) that is both specific and universal. Hegel spoke of a « need of philosophy ». The expression is ambiguous: it is meant to describe the general nature of rational thinking, but also to express how reason or philosophy can justify their historical relevance and satisfy concrete needs. I argue in chapters one to five that Hegel tries to reconcile these two needs, in order to show why identifying with concepts is the key to appeasing the concrete suffering caused by history’s own division within itself. The answer is given in absolute knowledge, grounded and justified in respect of thought itself as well as thought’s other, i.e., history. Absolute knowledge is point of equilibrium between reason in general and reason as the adequate expression of history’s universal needs. Chapters six to nine then interpret Adorno’s negative dialectics as a critical reworking of this dialectical problem of framing normativity in historical terms. Adorno agrees with Hegel that the most relevant and satisfying expression of historical suffering is conceptual, yet he also contends that the « compulsion to identity » as such fails to satisfy the need that motivates philosophical thinking. I argue that this is because striving for survival and happiness is not reducible to thought’s obsession with identity. For Adorno, happiness and “right life” are blocked in contemporary society because capitalism hypostasizes the identity principle inherent in conceptual thinking. In this context, I argue that Adorno’s view of philosophy as essay (Essay) is more, not less, rational than Hegel’s understanding of philosophy as an absolute science.

La critique adornienne du jazz fait parfois l’objet de débats. Ces derniers ont généralement pour objet la nature dite élitiste de ses propos. Cette position critique par rapport au jazz et à la culture de masse, qu’Adorno nomme Kulturindustrie, ainsi que sa théorie esthétique semblent être à l’origine de cette accusation d’élitisme. Ce mémoire a pour objet de mettre en lumière le fondement de cette critique d’élitisme qui s’avère être une incompréhension du rôle que joue sa critique du jazz pour sa philosophie. Il est impératif d’analyser la critique adornienne du jazz en lien avec la dialectique de la raison ainsi que sa théorie esthétique afin d’en saisir la nature exacte. Une analyse de la dialectique de la raison ainsi que les concepts de l’idéologie, de mimésis, d’autonomie et de Kulturindustrie révèle le non fondement de la critique faite à l’égard des propos d’Adorno à l’endroit du jazz. / Adorno’s critique of jazz music is subject of a debate regarding his elitism or lack thereof. More often than not, Adorno is considered to be elitist on account of his aesthetic theory and his critical position on jazz and mass culture which he refers to as Kulturindustrie. This memoir posits that the allegations of elitism directed towards Adorno are the result of a misunderstanding of Adorno’s overall philosophy and the role which his critique of jazz music plays within this whole. The fact of the matter is that Adorno’s critique of jazz can best be analyzed by a philosophical approach that includes an analysis of his dialectic of reason as well as his concept of ideology which Adorno links to his concept of Aufklärung. Furthermore, an analysis of the concept of autonomy and its importance for his critique of jazz and the Kulturindustrie as well as his aesthetic theory is essential to this end. Such an analysis leads to the conclusion that the accusation of elitism is inadmissible.

This thesis, called The Relationship between Redemption and Emancipation in the Political Theology of J. B. Metz, concerns the political theology of J. B. Metz. The first part summarizes the influences, which shaped his theological thinking and it presents his concept of political theology. The next part asks a question about the relationship between the ideas of redemption and emancipation in Metz's theology. This is based on the interpretation of a chapter from his book, Glaube in Geschichte und Gesellschaft, which concerns the topic. But before the interpretation of Metz's text, the problems of relationship between the two terms and of their origin are described. The extent of the field of meaning of the term "emancipation" is illustrated by the examples of the thinking of Immanuel Kant, Karl Marx and Jürgen Habermas. A large part is dedicated to the figures of the Frankfurt school, Theodor Adorno and Walter Benjamin, and their specific approach to the idea of emancipation and the Enlightenment tradition. The final thesis rejects the opinion, that the ideas of emancipation and redemption in Metz's theology coincide too much and it puts stress on the importance of the term "history of suffering" for solving this problem of Metz's theology. Keywords political theology, J. B. Metz, emancipation,...