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Esta dissertação versa sobre o conceito de educação na obra de Theodor W. Adorno (1903- 1969), tendo como principal material de análise dois ensaios do autor sobre o tema, O que significa elaborar o passado e Educação após Auschwitz. Nosso principal argumento é que Adorno pensa a educação contemporânea como um momento privilegiado da Aufklärung para intervir politicamente na relação entre indivíduo e sociedade; ou melhor, na forma em que esta relação encontra-se configurada histórica e socialmente sob o capitalismo tardio. Para que uma tal intervenção seja possível, Adorno assevera que a educação deve ter em conta, como seu ponto de partida, o diagnóstico histórico de que o progresso do esclarecimento reverteu-se no seu contrário, na barbárie que irrompeu no seio da cultura na metade do século XX e que tem no acontecimento Auschwitz seu signo histórico. É a partir deste diagnóstico que o autor tenta fundamentar que o principal fim da educação no presente consiste em evitar a repetição deste acontecimento. O argumento-chave de Adorno, segundo nossa interpretação, é que, tendo em vista esta finalidade negativa, a educação deve realizar uma inflexão em direção ao sujeito que vise esclarecer para os próprios sujeitos as condições objetivas e subjetivas que permitiram a regressão à barbárie que culminou em Auschwitz. Desta maneira, a educação é pensada como um processo de esclarecimento subjetivo, através de uma intervenção pública no presente reificado, enquanto uma forma de fortalecimento da capacidade de resistência do indivíduo frente à pressão de uma totalidade social que o impele a uma adaptação ao existente. / This dissertation traverses on the concept of education in Theodor W. Adorno\'s piece, having as its main analysis base two essay from the author on the theme, The meaning of working through the past and Education after Auschwitz. Our main argument is that Adorno conceives the contemporary education as a privileged moment of Aufklärung as means to politically intervene in the individual and society relation; or rather in the shape that this relation is found historically and socially configured under the late capitalism. So that such an intervention is possible, Adorno assures that education must be taken into account, as its starting point, the historical diagnosis that the progress of Enlightenment has been reversed on its contrary, on the barbarism that erupted in the heart of culture during the middle of the 20th Century, and has in the Auschwitz event its historical sign. Based on this diagnosis the author tries to argument that the main objective of the present education consists in avoiding the repetition of this event. Adorno\'s key argument, according to our interpretation, is that having this negative objective in mind, education must make an inflexion towards the subject that focuses on clarifying to the very subjects the objective and subjective conditions that allowed the regression to the barbarity that took place in Auschwitz. That being so, education is thought as a subjective enlightenment process, through public intervention in the reified present, whereas a strengthened form of the individual\'s resistance capacity against the pressure of a social totality that impels to adapting to the existent.

Esta dissertação versa sobre o conceito de educação na obra de Theodor W. Adorno (1903- 1969), tendo como principal material de análise dois ensaios do autor sobre o tema, O que significa elaborar o passado e Educação após Auschwitz. Nosso principal argumento é que Adorno pensa a educação contemporânea como um momento privilegiado da Aufklärung para intervir politicamente na relação entre indivíduo e sociedade; ou melhor, na forma em que esta relação encontra-se configurada histórica e socialmente sob o capitalismo tardio. Para que uma tal intervenção seja possível, Adorno assevera que a educação deve ter em conta, como seu ponto de partida, o diagnóstico histórico de que o progresso do esclarecimento reverteu-se no seu contrário, na barbárie que irrompeu no seio da cultura na metade do século XX e que tem no acontecimento Auschwitz seu signo histórico. É a partir deste diagnóstico que o autor tenta fundamentar que o principal fim da educação no presente consiste em evitar a repetição deste acontecimento. O argumento-chave de Adorno, segundo nossa interpretação, é que, tendo em vista esta finalidade negativa, a educação deve realizar uma inflexão em direção ao sujeito que vise esclarecer para os próprios sujeitos as condições objetivas e subjetivas que permitiram a regressão à barbárie que culminou em Auschwitz. Desta maneira, a educação é pensada como um processo de esclarecimento subjetivo, através de uma intervenção pública no presente reificado, enquanto uma forma de fortalecimento da capacidade de resistência do indivíduo frente à pressão de uma totalidade social que o impele a uma adaptação ao existente. / This dissertation traverses on the concept of education in Theodor W. Adorno\'s piece, having as its main analysis base two essay from the author on the theme, The meaning of working through the past and Education after Auschwitz. Our main argument is that Adorno conceives the contemporary education as a privileged moment of Aufklärung as means to politically intervene in the individual and society relation; or rather in the shape that this relation is found historically and socially configured under the late capitalism. So that such an intervention is possible, Adorno assures that education must be taken into account, as its starting point, the historical diagnosis that the progress of Enlightenment has been reversed on its contrary, on the barbarism that erupted in the heart of culture during the middle of the 20th Century, and has in the Auschwitz event its historical sign. Based on this diagnosis the author tries to argument that the main objective of the present education consists in avoiding the repetition of this event. Adorno\'s key argument, according to our interpretation, is that having this negative objective in mind, education must make an inflexion towards the subject that focuses on clarifying to the very subjects the objective and subjective conditions that allowed the regression to the barbarity that took place in Auschwitz. That being so, education is thought as a subjective enlightenment process, through public intervention in the reified present, whereas a strengthened form of the individual\'s resistance capacity against the pressure of a social totality that impels to adapting to the existent.

Esse trabalho tem como objetivo analisar os diferentes tipos de silêncio presentes na obra É isto um homem?, de Primo Levi. A escrita sobre a Shoá é permeada por diferentes manifestações de silêncio; este, além de se apresentar como uma impossibilidade, pode ser uma chave de leitura, analisada a partir das perspectivas de autores como Sérgio Kovadloff, Renato Lessa e do autor do texto, Primo Levi. / This dissertation analyzes the different kinds of silence in the book If this is a man, by Primo Levi. The writings about the Shoah carry different kinds of silence. However, besides being an impossibility, silence can be a key to understand the text, through the perspective of authors like Sergio Kovadloff, Renato Lessa and Primo Levi.

Inaug.-Diss. Recht Tübingen, 2005. / Bibliogr.

Univ., Diss.--Regensburg, 1999.

This thesis explores chronologically the art, commemoration and memorialisation of the Nazi concentration and extermination camps at Auschwitz, from their establishment in 1940 to the present day. Following a review of the literature in Chapter 1, Chapter 2 examines the production of works of art by the inmates of the camp. That art should have been produced at all in Auschwitz may conflict with our expectations, given the conditions of life within the camp. Nevertheless, art was as necessary in Auschwitz as it is elsewhere. The present account of the making of art under such difficult circumstances attempts to make a significant addition to the established narratives of Auschwitz. The post-war development of Auschwitz as a site-specific museum, established to commemorate the victims of the camp almost as soon as the site was liberated in 1945, permits analysis of techniques utilized by the museum authorities to display artefacts in order to narrate the story of Auschwitz. This is the subject of Chapter 3. For a period, the site was used by successive Polish political administrations to construct and bind Polish national identity to Russian political demands. The act of memorialisation has been shaped by political requirements almost throughout Auschwitz’s post-war history. The determinant of recognition for memorial purposes was national identity. The use of overtly religious iconography, whether Christian or Jewish, was severely limited. Communist governments defined all victims as political, and specifically as victims of the struggle against Nazism. These political considerations affected the inconclusive 1957 memorial competition. This competition, and its political contexts, is described in Chapters 4 and 5. In 1968 the Polish government began an anti-Semitic campaign that provoked international condemnation. Chapter 6 surveys these events, and describes one significant outcome, the establishment at the site of what was known locally as the Jewish pavilion. Finally, in Chapter 7, I draw together the three overriding concepts of art, commemoration and memorialisation – the predominant themes of this discussion – in order to show how the conception of Auschwitz has moved beyond the physical boundaries of the historical site. The question of what the site itself means, or should mean, remains a matter of continuing debate. The narrative of memorialisation at Auschwitz becomes increasingly marked by single events such as the establishment of the Jewish Pavilion, each embodying the turn towards the recognition that what should be remembered lies beyond nationality, and is separate from the contingent politics of the post-war settlement. Behind this, however, lies a further and more important narrative: that at every point in its history Auschwitz was intrinsically and inescapably a Jewish experience. This subsumes the particularities of the slow realization that this is what the site should celebrate. This thesis is committed to embodying this overarching narrative, and aspects of it can be found throughout, in every chapter.

Diss. / Bibliogr. p. 331-363.

The grounds and buildings of highly loaded historic sites are continually changing due to environmental and human interaction, ecological erosion, disposition, erasure and the various levels of human intervention. These factors dissolve both physical structures and the meaning embedded in them, to varying degrees. In loaded historic sites, such as Auschwitz-Birkenau, revitalizing the ruins to their original state trivializes the Holocaust. On the other hand, creating an architecture that does not directly engage with existing conditions shows the inability to translate history into an architectural narrative and achieve an awareness of the events that took place there. The challenge then, is to ? nd a place for architecture to operate within, and to activate the ruins of these fragile sites.

Denna uppsats behandlar en jämförelse hur Auschwitz-Birkenau-museet samt Livrustkammaren arbetar med sina respektive artefakter rörande bevarandeperspektivet. Detta innebär att författarna kommer fokusera på hur respektive museum arbetar för att bevara autenticiteten i de artefakter som finns. Författarna valde att besöka Oswiecim, mer känt under namnet Auschwitz, som är en stad beläget i södra Polen. Ett besök till Livrustkammaren i Stockholm, Sverige, genomfördes även. Motiveringen för valet av Auschwitz-Birkenau museet samt Livrustkammaren är grundat i att de båda huserar utställningsartefakter vars unika egenskaper inte är påträffbar någon annanstans i världen. / This thesis discusses the difference in choice of perspecitve of preservation between Auschwitz-Birkenau museum and The Royal Armoury. This results in that the authors therefore will focus on how each of the museums operate with the preservation of the authenticity within their exhibits. The authors chose to visit Oswiecim, more known as Auschwitz, a town in the southern parts of Poland and a visit to The Royal Armoury, in Stockholm, Sweden, took place as well.The reason for choosing Auschwitz-Birkenau museum as well as The Royal Armoury is based in that they’re both both housing unique exhibits, that are non-present in other parts of the world and also because the preservation of these exhibits needs for a more cautious approach.