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.

The dissertation thesis deals with the interpretation of the "beyond-the-man" concept, which is being interpreted, on one hand, as a part of the art-theoretical and art-historical European modernity of the end of the 19th and beginning of the 20th century, on the other hand, as a theoretical and methodological starting point for an interpretation of the transformation of the human image in the painting of the second half of the 1940s until the beginning of the 1960s. The foundation for such an interpretation is an assumption of the necessary transformation of the intellectual concepts after the World War II, as it was postulated by Theodor W. Adorno and how it was researched by Giorgio Agamben and Miroslav Petříček in the political-philosophical discourse. The thesis thus researches the "beyond-the-man" concept in the theory and history of art of the end of the 19th and beginning of the 20th century in a way of it being as re-formulated art-creative concept after 1945, evident especially in abstract painting. The interpretation of the "beyond-the-man" concept is developed on reading of Fritz Novotny's interpretation of Paul Cézanne's art from the beginning of the 1930s. Novotny in Cézanne's painting described the concept of "beyond-the-man" (Außermenschlichkeit) as a breaking point of the...

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Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-02-15T16:18:53Z No. of bitstreams: 1 Julio Cesar Werlang_.pdf: 939264 bytes, checksum: 631e477d7e6cb17f2a1fcbed748d4faf (MD5) / Made available in DSpace on 2016-02-15T16:18:53Z (GMT). No. of bitstreams: 1 Julio Cesar Werlang_.pdf: 939264 bytes, checksum: 631e477d7e6cb17f2a1fcbed748d4faf (MD5) Previous issue date: 2015-08-21 / Nenhuma / Reflexão crítica sobre o sujeito e a subjetividade no contexto da contemporaneidade a partir do pensamento de Theodor Adorno, especificamente em sua dialética negativa com o foco na questão do conhecimento e bárbárie. O primado do objeto como indicativo de uma nova concepção epistemológica, necessária para abrir asreais possibilidades emancipatórias do sujeito críticono mundo administrado. O sujeito crítico e consciente de suas determinações, limites e possibilidades nas sociedades capitalistas tardias, se apresenta como quem cultiva sua interioridade e individualidade, em contraposição a autoreferencialidade e o individualismo do sujeito liberal, por isso, mantém um olhar contemplativo, reflexivo e resistente na conquista de sua liberdade em meio a falsa liberdade promovida pela indústria cultural, sendo eticamente sensível e solidário às dores e sofrimentos dos outros e da natureza, e assim, se faz artista e protagonista de um novo tempo. / Critical reflection on the subject and subjectivity in the contemporary context from the thought of Theodor Adorno, specifically in its negative dialectic with the focus on the question of knowledge and barbarism. The primacy of the object as indicative of a new epistemological conception, required to open real emancipatory possibilities of the subject in the administered world. The critical and conscious subject of its determinations, limits and possibilities in late capitalist societies, presents itself as one cultivates his inner self and individuality as opposed a self referentialityand the individualism of liberal subject, and maintains a contemplative, reflective and resilient look in winning its freedom in the midst of false freedom promoted by the culture industry, being ethically sensitive and supportive with the pain and suffering of others and of nature, and thus becomes an artist and protagonist of a new time.

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This thesis explores the most basic purpose of education and how it can be advanced. To begin to analyze this fundamental area of concern, this thesis associates notions of education with notions and experiences of truth and authenticity, which vary historically and culturally. A phenomenological analysis, featuring the philosophy of Heidegger, uncovers the basic conditions of human experience and discourse, which have become bent upon technology and jargon in the West. He draws on Plato's account of the 'essence of education' in the Cave Allegory, which underscores human agency in light of truth as unhiddenness. Heidegger calls for ontological education, which advances authenticity as it preserves individuals as codisclosing, historical beings.

This thesis explores the most basic purpose of education and how it can be advanced. To begin to analyze this fundamental area of concern, this thesis associates notions of education with notions and experiences of truth and authenticity, which vary historically and culturally. A phenomenological analysis, featuring the philosophy of Heidegger, uncovers the basic conditions of human experience and discourse, which have become bent upon technology and jargon in the West. He draws on Plato's account of the 'essence of education' in the Cave Allegory, which underscores human agency in light of truth as unhiddenness. Heidegger calls for ontological education, which advances authenticity as it preserves individuals as codisclosing, historical beings.

This thesis provides a detailed examination of Theodor W. Adorno’s claim that “after Auschwitz all poetry is barbaric” in light of the greater framework of Adorno’s thinking on post-Holocaust art. Because Adorno takes Samuel Beckett as the exemplary post-Auschwitz artist, I examine two of Beckett’s early post World War II plays – Endgame and Krapp’s Last Tape – insofar as these works embody the task for art after the Shoah. The fundamental thesis of this study is that, for Adorno, art after the Holocaust should portray this catastrophe only indirectly, and that Beckett provides such an oblique aesthetic remembrance. In conclusion I examine the possibility of more direct representations of the Holocaust and determine that the need for aestheticizations of the Shoah is less vital than the need for radical societal reconfiguration – the cultivation of conditions which would prevent the emergence of new Holocausts.

nÃo hà / Esta tese de doutorado considera a crÃtica da racionalidade tÃcnico-cientÃfica e a formaÃÃo do sujeito autÃnomo em Adorno no contexto da sociedade capitalista, com o objetivo de explicitar a dupla funÃÃo da educaÃÃo, no pensamento de Adorno, que se efetiva pelo processo de adaptaÃÃo e de resistÃncia dos indivÃduos à realidade socialmente constituÃda. A adaptaÃÃo à o estÃgio que integra o indivÃduo ao coletivo social e a resistÃncia se configura pelo desenvolvimento de sua capacidade crÃtica para se contrapor ao que a ele se impÃe. Para atingir nosso objetivo analisamos, principalmente, as obras de Adorno: DialÃtica negativa (2009), DialÃtica do esclarecimento (1985), EducaÃÃo e emancipaÃÃo (1995) e Teoria da semicultura (1996). Nessa perspectiva, desenvolvemos a tese com base na racionalidade reflexiva e a racionalidade tÃcnico-cientÃfica. Pela primeira racionalidade se tem a autonomia intelectual do sujeito, mas desvinculada da realidade concreta, a sua subjetividade se efetiva sem as mediaÃÃes histÃricas, à constituÃda de forma abstrata. No caso da segunda racionalidade, na proporÃÃo em que o homem se apropria do saber cientÃfico, menos autonomia ele tem para se conduzir na vida e promover a emancipaÃÃo humana. Essa questÃo à reforÃada pelo processo educacional, agenciado pelo sistema capitalista, para adaptar o sujeito ao padrÃo de comportamento que à conveniente à sua conservaÃÃo. Nele, a cultura se converte em semicultura e a formaÃÃo em semiformaÃÃo, impedindo ao sujeito de se apropriar da cultura para pensar de forma crÃtica e se contrapor Ãquilo que o oprime. Para Adorno, nÃo hà autonomia do sujeito sem o exercÃcio da reflexÃo crÃtica e nem emancipaÃÃo humana enquanto os indivÃduos nÃo recuperarem as suas particularidades. Para isto, ele concebe a educaÃÃo em duas dimensÃes: ela serve para adaptaÃÃo dos indivÃduos à coletividade social e como resistÃncia a toda forma de dominaÃÃo. Fazendo uso da dialÃtica negativa, o desafio da educaÃÃo à promover no sujeito a capacidade de pensar criticamente os conceitos universais a partir de sua nÃo-identidade. / This doctoral thesis considers the criticism of technical-scientific rationality and the formation of the autonomous subject in Adorno in the context of capitalist society, with the objective of explaining the dual function of education, in Adornoâs thought, which is effected by the process of adaptation and resistance of individuals to the socially constituted reality. Adaptation is the stage that integrates the individual into the social collective and resistance is shaped by the development of his critical capacity to counteract what is imposed on him. In order to reach our objective we analyze, mainly, the works of Adorno: Negative dialectic (2009), Dialectics of enlightenment (1985), Education and emancipation (1995) and Theory of Semiculture (1996). From this perspective, we develop the thesis based on reflexive rationality and technical-scientific rationality. By the first rationality one has the intellectual autonomy of the subject, but detached from concrete reality, his subjectivity becomes effective without historical mediations, is constituted in an abstract form. In the case of the second rationality, in proportion as man appropriates scientific knowledge, he has less autonomy to conduct himself in life and to promote human emancipation. This question is reinforced by the educational process, under the influence of the capitalist system, to adapt the subject to the standard of behavior that is convenient for its conservation. In it, culture becomes semi- culture and semiformation training, preventing the subject from appropriating culture to think critically and oppose what oppresses. For Adorno, there is no autonomy of the subject without the exercise of critical reflection or human emancipation as long as individuals do not recover their particularities. For this, he conceives education in two dimensions: it serves to adapt individuals to social collectivity and as resistance to every form of domination. Using the negative dialectic, the challenge of education is to promote in the subject the ability to think critically of universal concepts from their non-identity.

Ce travail porte sur l'utilisation et l'exploitation des invertébrés marins (mollusques, crustacés et échinodermes) durant la Protohistoire sur les côtes de la Manche et de l'Atlantique en France. Il repose sur l'inventaire de 197 sites ayant livré ce type de faune. 32 ont fait l'objet d'une étude archéomalacologique, dont 17 dans le cadre de cette thèse. Les résultats obtenus permettent d'aborder des thématiques variées, comme les environnements exploités, l'économie de subsistance (mode alimentaire, spécificité géographique, réseau d'échange), l'artisanat (teinture, parure, matériau de construction, etc.) et les pratiques funéraires et cultuelles (dépôt, repas rituels). L'étude des invertébrés marins contribue ainsi à une meilleure compréhension des systèmes socio-économiques et culturels des communautés littorales et continentales durant la Protohistoire. / This work deals with the use and exploitation of marine invertebrates (molluscs, crustaceans and echinoderms) during the Protohistory on the Channel and Atlantic coasts in France. It relies on the inventory of 197 sites characterized by the presence of this type of fauna. Some archaeomalacological studies have been realized on 32 of these sites, of which 17 during this thesis. The results allow to approach various themes, such as the environments exploited, the subsistence economy (food, geographical variations, exchange network), crafts (dyeing, beads, building material, etc.) and funeral and ritual practices (hoard, ritual meal). The study of the marine invertebrates thus contributes to a better understanding of the socio-economical and cultural systems of the littoral and continental communities during the Protohistory. / Este trabajo se centra en el uso y explotación de los invertebrados marinos (moluscos, crustáceos y equinodermos) durante la Protohistoria en la costa de la Mancha y Atlántica de Francia. La investigación se basa en un inventario de 197 sitios arqueológicos con presencia de restos malacológicos, sobre 32 de ellos se ha realizado un estudio arqueomalacológico, de los cuales 17 se han desarrollado e incluido en el contexto de esta tesis doctoral. Los resultados obtenidos se han orientado a tratar una variedad de cuestiones, como el medioambiente explotado, la economía de subsistencia a partir de diferentes perspectivas (la alimentación, las especificaciones geográfica, o las redes de intercambio), la producción artesanal (tintes, elementos de adorno o material de construcción), o las prácticas funerarias y rituales (elementos de ajuar, comidas rituales). El estudio de los invertebrados marinos contribuye así a una mejor comprensión de los sistemas culturales y socio-económicos de las comunidades costeras y también continentales a lo largo de la Protohistoria.