Zugl.: Jena, Univ., Magisterarbeit, 2004 / Hergestellt on demand

Diss. Univ. Freiburg im Breisgau, 2007.

O estudo aborda o problema da forma de exposição do pensamento filosófico a partir da defesa da forma do ensaio na obra de Theodor W. Adorno. O que se põe em questão é o quanto a forma ensaística, em seu esforço de elaborar conceitualmente os dados da experiência particular, é capaz de dar conta da atividade filosófica - uma atividade universalista e interessada na determinação dos fundamentos últimos do real - em um momento histórico no qual não parece ser mais possível a ela erguer pretensões de sistema. Em seu desenvolvimento este trabalho se volta para a própria ensaística adorniana e procura mostrar se e em que medida ela escapa do espírito próprio dos sistemas fechados. / The work addresses the problem of exposition in the philosophical thought based on the defense of the essay form in the philosophy of Theodor W. Adorno. What is interrogated is how much the essay form, in its effort to develop conceptually the particular experience, is able to carry out the philosophical activity - a universalistic activity e interested in depict the ultimate foundations of the real - in a historical moment in which is it no more possible to raise any pretense of systematic philosophy. In its development this study turns to Adorno's own essays and attempts to show if the exposition form of his thought escapes from the especific spirit of closed systems.

O estudo aborda o problema da forma de exposição do pensamento filosófico a partir da defesa da forma do ensaio na obra de Theodor W. Adorno. O que se põe em questão é o quanto a forma ensaística, em seu esforço de elaborar conceitualmente os dados da experiência particular, é capaz de dar conta da atividade filosófica - uma atividade universalista e interessada na determinação dos fundamentos últimos do real - em um momento histórico no qual não parece ser mais possível a ela erguer pretensões de sistema. Em seu desenvolvimento este trabalho se volta para a própria ensaística adorniana e procura mostrar se e em que medida ela escapa do espírito próprio dos sistemas fechados. / The work addresses the problem of exposition in the philosophical thought based on the defense of the essay form in the philosophy of Theodor W. Adorno. What is interrogated is how much the essay form, in its effort to develop conceptually the particular experience, is able to carry out the philosophical activity - a universalistic activity e interested in depict the ultimate foundations of the real - in a historical moment in which is it no more possible to raise any pretense of systematic philosophy. In its development this study turns to Adorno's own essays and attempts to show if the exposition form of his thought escapes from the especific spirit of closed systems.

Esta tese trabalha uma concepção fundamental para a Psicologia: a de indivíduo, tal como compreendida na obra de Theodor W. Adorno. Neste estudo, essa concepção foi analisada à luz das considerações de Adorno à peça Fim de Partida, de Samuel Beckett. No ensaio Intento de entender Fin de Partida, Adorno avalia essa peça como denúncia realista das condições deterioradas de formação do indivíduo. Para Adorno, é por meio da forma de paródia do drama que a peça expõe a dilaceração das possibilidades de contato entre os homens e destes com a natureza e o mundo. Nesse contexto, outro conceito se fez importante: o de experiência, tal como o entende Walter Benjamin. Esse conceito também foi fundamental para Adorno desenvolver suas análises sobre as condições de constituição do indivíduo. Essas referências iluminam a obra beckettiana, que se desvela em seu aspecto formal como historiografia do sofrimento e explicita o caráter fragmentário e impotente com que a concepção de indivíduo se apresenta na modernidade / This thesis discusses a fundamental conception for Psychology: the individual, as it is conceived in the works of Theodor W. Adorno. In this study, this conception was analyzed in the light of Adorno considerations to the play Endgame, by Samuel Beckett. In the essay Trying to Understand Endgame, Adorno evaluates this play as a realistic denunciation of the deteriorating conditions of the individual\'s formation. For Adorno, is through the form of drama\'s parody that the play exposes the disruption of contact opportunities between the men and between those with the nature and the world. In this context, other concept became significant: the experience, such as Walter Benjamin understands it. This concept was also essential for Adorno develop his analysis of the conditions of the individual\'s constitution. These references illuminates the work of Beckett, which is revealed in its formal aspect as a historiography of the suffering and explains the powerless and fragmentary character that the conception of the individual shows in modernity

Theodor Meentzen (1875 Butjadingen -1963 Moritzburg), Schriftsteller, Autor, Publizist, Redakteur, Freidenker, engagierter Unterstützer der ersten Gründungen von Volkshochschulen ab 1919. Der Vater der späteren Unternehmer-Dynastie „Charlotte Meentzen - Kräutervital-Kosmetik“, selbst aus ärmlichsten Verhältnissen stammend, nutzte um 1900 als Modelltischler die Bildungsmöglichkeiten von Gewerkschaft und SPD und setzte sich für proletarisch-sozialistische Arbeiterbildung ein, wurde frühzeitig aktiver Sozialdemokrat, Freidenker und engagierter Gewerkschafter. Als Redakteur der Leipziger Volkszeitung (LVZ) kam er in Kontakt mit Hermann Duncker (1874-1960), begann mit Vortragsreisen und Referententätigkeit seinen Lebensunterhalt zu finanzieren und trat mit Vorträgen bei Arbeiterbildungsvereinen, -Organisationen, Gewerkschaften, Gewerbe- und Hand-werksvereinen bis hin zu Belegschaftsversammlungen der „Friedrich Krupp-AG“ in Erscheinung. Zahlreiche Schriften und Bücher wurden im Selbstverlag oder in der „Verlagsanstalt proletarischer Freidenker Leipzig“ veröffentlicht und machten Meentzen, der mit seiner Familie nach Moritzburg bei Dresden übersiedelt war, sehr vermögend und unabhängig.

In this thesis an attempt is made to show the peculiar features of Fontane's narrative style as well as his art of characterization. I have tried to interpret his concept of humaneness in the two novels, Unwiederbringlich and Effi Briest, and to show how the composition of these novels is directed to the portrait of the individual. Theodor Fontane's unusual distinction lies in his keen observation of the Prussian scene and his craftsmanship as a cosmopolitan storyteller. The principal elements of his works are a sense of historical continuity and an uncommon perception of the speech and gestures by which his characters reveal their particular virtues. In his early writings about his travels abroad and his excursions through the province of Brandenburg, he developed powers of observation and a narrative style which served him well in his major novels. His composition is picturesque. The plots are enlivened with anecdotes and surprising detail; the portraiture is subtle and precise. Fontane's portrayal of human relationships takes into account the impact of coincidences of life. His symbolism, apparent not only to his readers, but also to his characters, is simple but effective. Fontane seems to favor particularly the individual who is restricted by conventions and whose conflicts derive from these restrictions. His characters, like himself, are caught between the meaningless traditions of former times and the dawn of a new awareness. Fontane seems to favor particularly the individual who is restricted by conventions and whose conflicts derive from these restrictions. His characters, like himself, are caught between the meaningless traditions of former times and the dawn of a new awareness.

This thesis examines Theodor Fontane's novels Effi Briest and Irrungen Wirrungen and shows how he used them to express his dissatisfaction with the Berlin society of his time.

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