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The aim of the article is to theoretically develop a notion of digital Bildung that accepts the “world” of today as characterised by the entanglement of humans and technology. I draw on Adorno’s critical notion of Bildung, Luciano Floridi’s and Katherine Hayles’ respective understandings of the human-technology entanglement, and the social philosophy of the American philosopher Robert Brandom to understand Bildung as a piecemeal process. Nevertheless, Bildung is a rational process of making explicit the implicit connections to which we commit ourselves by being entangled in a tech–non-tech world. The article contributes to delineating a theoretical notion of digital Bildung that accepts and develops Bildung as critically precipitating from within this entanglement—what Brandom terms a semantic self-consciousness.

The article presents an attempt to outline, from a mainly typological and partly historical perspective, what the author considers the most important varieties of the relationship between philosophy and literature (which is, of course, understood here in a working and broad sense, as poesis). In the first of these varieties, for which the fundamental significance is Plato’s gesture of excluding poets from the state, the philosophical logos defines itself in opposition to literature, or mythos. In the second, which appears to predominate from Aristotle to the 18th century, the relationship between philosophy and literature takes on a more neutral character: the former provides the latter with motifs, themes, topics, mainly related to moral philosophy in the broadest sense, while the latter provides the former with discursive modes, such as genre. Modern aesthetics and the philosophy and theory of literature (fundamentally different from the tradition of the great poets and rhetoricians of the 16th and 17th centuries), which emerged together with transcendental philosophy and its reception in German Romanticism, contributed both to the increased interest among philosophers in literature and to a clear embedding, or even closing, of literature in philosophical notions, which originated mainly in the tradition of transcendentalism and dialectical thought. Finally, the beginning of the twentieth century is distinguished, in most of the major continental philosophical traditions, by a tendency to seek, or to find, in literature the most important partner of philosophical thinking, and sometimes even the identity of philosophy.

Straipsnyje Levino filosofija interpretuojama kaip etinis ir talmudinis egzistencinių kelių svarstymas. Autorius teigia, kad kitoniškumo ir kitų veidų įvairovės samprata po Aušvico neigia teodicėją ir esencialistinę būties interpretaciją, tačiau suponuoja įvairiapusę „buvimo kelyje“ etiką. Straipsnis lygina Levino, Baranovos ir Adorno požiūrius į etiką ir egzegezę. Levino filosofija plėtojama remiantis egzodo egzegetika ir Aušvico nesuvokiamumo samprata. Autorius aptaria Levino ir Adorno filosofijas, kurie abu laiko Holokaustą įvykiu, kurio negalima suvokti. Levinas pasisako už teodicijos kaip dieviškosios istorijos pateisinimo pabaigą ir įrodinėja etikos pirmumą, o Adorno plėtoja antiteodicėją ir pateikia instrumentinio proto kritikos aktualumą. Pagrindiniai žodžiai: negatyvi teodicėja, egzodas, Holokaustas, gulagas, Levinas, Adorno. In this article, Levinas’ philosophy is interpreted as an ethical and Talmudic consideration of existential paths. After Auschwitz, the concept of otherness and the diversity of other faces presupposes a free and diverse “being on the road,” an ethics of journey, and denies theodicy and an essentialist interpretation of being. The thesis is proven by comparing Levinas’, Baranova’s and Adorno’s approaches to ethics and Exegesis. Levinas’ philosophy is elaborated by referring to the exegetics of the Exodus and the concept of an incomprehensibility of Auschwitz. The author discusses the philosophies of Levinas and Adorno who both consider the Holocaust as an occurrence not open to interpretation. Levinas advocates the end of theodicy as a justification for divine history and argues the primacy of ethics, while Adorno develops anti-theodicy and presents the relevance of critique of instrumental reason. Keywords: Negative Theodicy, Exodus, Holocaust, Gulag, Levinas, Adorno.

Resumo: No século XVIII, Kant avaliou que seu período histórico não era uma época de esclarecimento, mas de menoridade, devido à incapacidade do homem de se servir de seu próprio entendimento. Adorno atualizou esse problema, interpretando a menoridade, em nossa época, em termos de perda da experiência. Os homens não são mais aptos à experiência, pois a aparelhagem técnica e econômica impede o esclarecimento e a conscientização da realidade. A partir desse diagnóstico, o objetivo do presente artigo é investigar o pensamento educacional de Adorno, em suas possibilidades de emancipação. Em nosso ponto de vista, o papel da educação, no pensamento do frankfurtiano, é recuperar a autonomia crítica dos indivíduos, por meio do pensamento dialético, para a reconstrução da experiência danificada. ABSTRACT: In the 18th century, Kant evaluated that his historical period was not a time of enlightenment, but rather minority, because of man’s inability to use his own understanding. Adorno updated this problem, interpreting the minority in our presente in terms of loss of experience. Men are no longer apt to experience, because the technical and economic apparatus prevents the clarification and awareness of reality. From this diagnosis, The aim of this article is to investigate Adorno’s educational thought in its possibilities of emancipation. In our point of view, the role of education, in the thoughts of the Frankfurtian, is to recover the critical autonomy of individuals, through dialectical thinking, to rebuild the damaged experience.

L'articolo è approfondisce la poetica di Biancamaria Frabotta nella sua penultima raccolta poetica, La materia prima. Sebbene il panorama degli studi abbia prodotto più di un approfondimento sull’opera della poetessa, nessuno è stato ad oggi dedicato alla raccolta. Con lo scopo di produrre uno studio inedito sul lavoro poetico di Frabotta, lo scopo dell’articolo sarà operare un’analisi del corpus testuale con una metodologia critico-filosofica. Tale analisi sarà segmentata in tre paragrafi e approfondirà le questioni sollevate dalla centralità ontologica ed estetica della figura dell’animale, dalla concezione metafisica della poetessa e dalla componente teoretica compositiva. Il risultato dello studio fornirà una nuova lettura epistemologica della raccolta, utile per una più profonda comprensione, in senso lato, del lavoro di Frabotta. La letteratura critica sull’autrice sarà così arricchita da un contributo nuovo, sia nel senso della metodologia che del focus di ricerca. English title: «Alone in the bed with myself». Observation of the last poetic conception of Biancamaria Frabotta This essay focuses on the poetic conception of Biancamaria Frabotta in the collection La materia prima. The literature dedicated to Frabotta’s poetry is to date very wide. However, no studies on the collection have been produced to date. In order to offer an unprecedented insight into Frabotta’s poetic work, the purpose of this study is to perform a study of the textual corpus, approached through a philosophical critical methodology of analysis. Such analysis will be divided into three paragraphs and will focus on the issues raised by the ontological and aesthetical centrality of the figure of the animal, the metaphysical conception of the poet and the theoretical compositional component. The study will provide a new epistemological reading of the second-last poetry collection of Frabotta, which will also allow for a deeper understanding of her work. A new contribution will thus enrich the critical literature on the author both in the sense of the methodology and of the research focus.

Para Adorno, pensar no es rendirse ante el sistema actual de homogeneización e integración, sino que, cuando es conciencia del dolor individual, su propia existencia es ya un instrumento crítico. Adorno considera que el dolor del individuo producido por el sistema de dominio ha sido ocultado y silenciado por la filosofía de la identidad hegeliana, por una parte, y por la industria cultural, por otra. Al contrario, Adorno cree que es necesario darle voz, porque esa conciencia, como resistencia que es, es la única esperanza utópica de salvación para el ser humano. Esta conciencia del dolor convierte su pensamiento en una ilustración de sangre. Así debemos entender la politización del dolor. El arte auténtico y la dialéctica negativa tienen la tarea de permitirnos realizar esta politización. For Adorno, thinking is not to surrender to the current system of homogenization and integration. Rather, when it is a consciousness of individual pain, its very existence is a critical instrument. Adorno considers that the pain of the individual produced by the system of domination has been hidden and silenced by the Hegelian philosophy of identity, on the one hand, and by the culture industry, on the other. In contrast, Adorno believes that it is necessary to give it voice, because this consciousness, insofar as it is resistance, is the only utopian hope of salvation for the human being. This consciousness of pain turns his thought into an enlightenment of blood. This is how we should understand the politicization of pain. Authentic art and negative dialectics have the task of enabling us to carry out this politicization.

Engraved pendants are one of the most well-known ornaments used by hunter-gatherers during the Magdalenian. In this paper, we present a new pendant found in the cave of Aizkoltxo (Mendaro, Gipuzkoa, Basque Country). This object was carefully engraved with both figurative –a red deer hind and two aquatic zoomorphs– and non-figurative depictions –X-shaped motifs and simple lines– on a halved rib where a single perforation was produced bipolar drilling. It has been dated to the Final Magdalenian, a moment when the site was heavily used, judging by the abundance of lithics, osseous industry, and faunal remains found. The significance of this object does not lie in its uniqueness but in the similarities it has with others in the Cantabrian region (Valle and El Pendo) and southern France (Lortet, La Vache, Arancou, and Chaffaud). This is both because of the bone used, a rib, and the decoration it displays. The marine animals depicted point towards a commonality in the symbolic code of this chronological horizon, indicating ties between the different groups that lived in Western Europe between 16.500 and 13.000 cal BP., Los adornos-colgantes son uno de los ornamentos más utilizados por los cazadores recolectores durante el Magdaleniense. En este artículo presentamos uno nuevo recuperado de la cueva de Aizkoltxo (Mendaro, Gipuzkoa) grabado cuidadosamente con representaciones tanto figurativas –una cierva y dos zoomorfos marinos– como no figurativas –aspas y trazos simples– en una lámina de una costilla en la que se practicó una única perforación hecha por rotación bipolar. Ha sido datada en el Magdaleniense Final, un momento en el que el yacimiento fue muy frecuentado a juzgar por la abundancia de industria lítica, ósea y restos faunísticos localizados. La importancia de este objeto no radica en su singularidad sino en las similitudes que presenta con otros en la región cantábrica (Valle y El Pendo) y el sur de Francia (Lortet, La Vache, Arancou y Chaffaud). Esto se debe tanto al soporte, costilla, como a la decoración. Los animales marinos apuntan a afinidades en el código simbólico de esta cronología, indicando lazos entre los diferentes grupos que vivieron en Europa occidental entre hace 16.500 y 13.000 años cal BP.

U onim granama filozofije koje se uobičava nazvati teorijskima – poput ontologije, logike i filozofije uma – postoji zagonetna navika da se njihovi opći pojmovi ne smatraju bitno aficirani društvenim zbivanjima. Za pojmove poput bitka, mudrosti, razuma i uma često se smatra da imaju svoju tvrdu jezgru koju ne mogu promijeniti efemernosti historije. S jedne strane, ovaj rad nudi prikaz povijesno-filozofijskog razvoja pojma uma u njegovom odnosu prema pojmu razuma, te spram fluktuirajuće društvene i povijesne dinamike društva, s druge strane. Na primjeru djela Theodora Adorna, Maxa Horkheimera, Herberta Marcusea i Györgya Lukácsa rad pokazuje kako um ima bitno socijalnu funkciju čija je zanemarenost u jednoj od najvažnijih epoha europske povijesti – prosvjetiteljstvu – odlučujuće utjecala na prelazak emancipatornog ideala umske spoznaje u apsolutizaciju formalističkog i instrumentalnog mišljenja. Konačno, rad u svom posljednjem dijelu nudi ogled o pojmovima društvenosti i revolucije te odnosu koji um ima spram njih. In those areas of philosophy which are often called theoretical – such as ontology, logic and the philosphy of mind – there exists a puzzling habit of viewing their general concepts as essentially divorced from social events. Concepts such as being, wisdom, reason and mind are thought to have a hard inner core which is unable to be altered by the ephemeral goings-on of history. This paper aims to showcase the historico-philosophical development of the concept of “mind“ in its relation to reason on the one hand and the fluctuating social and historical dynamics on the other. Using the works of Theodor Adorno, Max Horkheimer, Herbert Marcuse and György Lukács as its primary references the paper attempts to illustrate the substantially social function of the mind whose neglect in one of the most crucial epochs of European history – that of the Enlightenment – resulted in the transformation of an emancipatory ideal into the absolutization of formal and instrumental thinking. Lastly, in its final part the paper aims to discuss the relationship of the mind to revolution and human socialit

Cet article retrace les parcours suivis par les réceptions très différentes qu’ont connues en France les théories de Herbert Marcuse et de Theodor W. Adorno depuis l’immédiat après-guerre jusqu’à aujourd’hui. À l’encontre de certaines légendes prétendant que l’école de Francfort n’aurait éveillé la curiosité des cercles académiques français que tardivement (1968 pour Marcuse, les années 1970 pour Adorno), on verra ici comment des liens ont été noués bien avant entre les chercheurs allemands et certains intellectuels français, en particulier grâce au travail des revues (Les Temps modernes, Critique, Arguments). Il est remarquable que la réception des deux auteurs a toujours emprunté des voies divergentes : l’engouement suscité par Marcuse auprès du public ne souffre aucune comparaison, pourtant, avec le temps, la recherche française s’est progressivement éloignée du maître à penser de la révolte estudiantine, tandis que les écrits d’Adorno, qui ont durablement marqué certains cercles plus étroits de musicologues (Pierre Boulez en particulier), de sociologues et de philosophes (comme en témoigne le débat entre Jacques Derrida et Jean-François Lyotard au début des années 1980), font sans cesse l’objet de nouveaux travaux.

20.yy.’ın en önemli düşünürlerinden olan Adorno’nun en önemli kuramlarından olan kültür endüstrisi, günümüzde canlılığını ve geçerliliğini hala korumaktadır. 1960’dan günümüze, kültür endüstrisi yapısal olarak gerilemediği gibi daha da gelişmiştir. Bu incelemenin temel amacı, Adorno’nun kültür endüstrisi düşüncesinin gelişim, köken ve günümüze olan etkilerinin yanı sıra; bu uygulamaların Nazi ideolojisinin belirleniminde gelişen ve hala varlığını koruyan kuramsal bağlantılarıdır. Günümüzde kültür endüstrisi uygulamalarının merkezi Amerika’dır ve burada geliştirilen medya aygıtları ve kitlesel üretimler, Naziler ve Goebbels’in amaçladığı toplumu kitleselleştirme, yüzeysel eğlence ve totaliter düşünceyle koşut varlığını aynen korumaktadır. Günümüzde gelişen sosyal medya üretimleri, sinema, dizi, müzik, Netfilix, Disney, Universal, CNN, BBC, Youtube, Twitter, Facebook ve Intagram gibi uygulamaların gelişimi yapısal olarak, günümüzün kültür endüstrisi aygıtlarını oluşturmakta ve bu uygulamaların merkezi yine California olup, çalışmalarına aynen devam etmektedir.

The discussion on games as (not) art has been raging for decades without reaching a consensus. It is argued here that the ontological status of games is irrelevant for the perception and development of aesthetic experiences in videogames. Instead, game design should be regarded as ripe to convey the experience of art according to established aesthetic theories. The essay presents Adorno’s aesthetic theory and highlights its reflections in the games Papers, Please and Observer. It then describes how they were synthesized into a critical gameplay experience in the author’s game Distressed. The latter may be regarded as an example of a method in game studies in which the aesthetic potential of games is explored by creation rather than analysis. Arguably, this reveals the importance of epistemological approaches towards games and art instead of the predominant ontological ones.

Resumo O artigo procura extrair elementos para a crítica do direito à luz da Dialética negativa de Theodor W. Adorno. O aporte teórico realizado pelo autor permitiu que o pensamento dialético se ajustasse às questões filosóficas postas pelo Século XX, como a denúncia dos grandes sistemas e das metanarrativas. A crítica do paradigma de identidade, cuja origem remonta aos circuitos econômicos de trocas de equivalentes, permite uma aproximação relativamente original no que concerne à figura do sujeito de direito. Assim, a partir dos modelos apresentados pelo autor na terceira parte de sua obra, busca-se desenvolver certas reflexões epistemológicas no contexto de algumas categorias próprias à sua dialética, com vistas a uma compreensão mais adequada do momento normativo do fenômeno jurídico. Os resultados apontam para uma ampliação dos espaços críticos do fenômeno jurídico no interior da tradição dialética. Abstract The article seeks to extract elements for the critique of the law in the light of Theodor W. Adorno's Negative Dialectic. The theoretical contribution made by the author allowed dialectical thinking to adjust to the philosophical questions posed by the 20th century, such as the denunciation of the great systems and metanarratives. The criticism of the identity paradigm, whose origin goes back to the economic circuits of exchange of equivalents, allows a relatively original approach with regard to the figure of the subject of right. Thus, based on the models presented by the author in the third part of his work, we seek to develop certain epistemological reflections in the context of some categories specific to his dialectic, with a view to a more adequate understanding of the normative moment of the legal phenomenon. The results point to an expansion of the critical spaces of the legal phenomenon within the dialectical tradition.

Latin American liberation theology appears to be an obsolete phenomenon that is unable to speak about the realities of today’s world. Since the Congregation for the Doctrine of the Faith published two instructions on liberation theology, the Vatican has been considered to have condemned it. Likewise, the Vatican of John Paul II and Benedict XVI focused on the reprobation of several liberation theologians attempting to silence their voices. However, liberation theology aimed at the realisation of justice in a world in which the injustice that gave birth to this phenomenon still prevails in new ways. This article establishes a relationship between liberation theology and critical thinking to offer an alternative to the future of liberation theology. We insist that, despite the end of the era in which both were born, they continue to challenge the present world. Using Adornian optics, we establish how critical thought constitutes a prophetic denunciation. Thus, liberation theology will be understood within this critical tradition and how it critiques the current reality, in which the logic of late capitalism prevails. Afterwards, the contemporary world will be studied from this point of view to try to discover the pending tasks of criticism. It is the question of discovering the tasks of critiques to challenge the present.

In this graduation paper, we are going to analyse the insightful remark Theodor W. Adorno made on more than one occasion about how Franz Kafka in his novels and short stories commands interpretation through the collapse of the aesthetic distance. Against the anti-parabolist approach which is staunchly opposed to any interpretative efforts, we are going to argue for the inevitability of, and indeed the need for, the detailed readings of Kafka’s work, sketching meanwhile an ethics of interpretation which steers clear from a hermeneutical tyranny of searching for and claiming to find the “one true meaning” of a literary text. In dealing with aesthetic distance, and at least two distinct though interrelated meanings it has in Adorno’s usage, we are going to attempt to explain why Kafka’s destruction of aesthetic distance is a key to his literary powers and popularity both with the general audience and among the scholars. We will also show why despite many similarities Kafka’s oeuvre doesn’t belong to metaphysical detective fiction. A narratological analysis of Kafka’s method for abolishing the aesthetic distance will also be provided. U ovom diplomskom radu analizirat ćemo pronicljivo opažanje Theodora W. Adorna koje je više puta izrekao o tome kako Franz Kafka u svojim romanima i kratkim pričama nagoni na interpretiranje zahvaljujući uništavanju estetske udaljenosti. Nasuprot antiparabolističkom pristupu koji se oštro protivi ikakvom pokušaju tumačenja, mi ćemo se zalagati za neminovnost kao i za potrebu za detaljnim čitanjem Kafkinih djela, skicirajući usporedno s time etiku interpretacije koja se kloni hermenutske tiranije koja traži i tvrdi da nalazi “jedan pravi smisao” književnog teksta. Baveći se etetskom udaljenosti, i barem dva različita ali međusobno povezana značenja u kojim ih Adorno koristi, pokušat ćemo objasniti zašto je Kafkino uništavanje estetske udaljenosti ključ za njegovu književnu moć i popularnost koju ima kod šire publike, kao i kod eksperata. Pokazat ćemo zašto usprkos mnogim sličnostima Kafkin opus ne spada među metafizičku detektivsku fikciju. Također ćemo priložiti naratološku analizu Kafkine metode ukidanja estetske udaljenosti.

A presente resenha trata do livro A atualidade da teoria estética de Theodor Adorno (2020). O material que agora vem a público sob a organização de Rodrigo Duarte e Daniel Pucciarelli, ambos professores na UFMG, pode ser visto como um aporte que interessa tanto aos estudantes acerca dos temas envolvidos, quanto os leitores críticos e intérpretes da arte contemporânea. Os temas e discussões apontam, em cada capítulo do livro, não para o passado ou à teoria pura e simples, mas volta-se para o presente e futuro da arte, seus dilemas e incursões sociais via o pensamento filosófico em nosso tempo.

During the 20th century, the format of domestic life became an explicit object of functional reworking and rewriting. Thanks to the industrialisation processes that affected it, the home entered the era of its technical reproducibility, becoming a container aimed at optimising the functions it is called upon to perform. The meanings that were associated with it in the bourgeois tradition of the previous century, first and foremost that of being the place of intimacy and family affection, underwent a significant transformation. The signs of this transformation are particularly evident in the experimental and futuristic projects on human domesticity by Richard Buckminster Fuller. Thanks to them, domesticity enters a new horizon of expression, even beyond the architectural imagination, anticipating elements and characteristics that define its contemporary condition.

The critique of life forms, created through fossil-fueled late-stage capitalism or the rare-metal-dependent digital order, has become a leitmotiv. But beyond alarming diagnoses, we are still lacking a serious reflection on the conditions that would allow us to escape the grip of the dominant model, one that goes beyond negativist strategies that reduce the issue to one of adding up local forms of resistance. In his rereading of Adorno, Rahel Jaeggi goes a step further by putting forward a hypothesis concerning the practical conditions of learning, one which would provide a real positive advancement with respect to the tools currently employed to resolve our problems. ---- La critique des formes de vie, engendrées tant par le capitalisme tardif focalisé sur les énergies fossiles que par l’ordre numérique dépendant des métaux rares, est devenue un leitmotiv. Mais au-delà des diagnostics alarmistes, il manque une réflexion sur les conditions qui permettent d’échapper à l’emprise d’un modèle dominant et de dépasser la seule stratégie négativiste, trop souvent réduite à l’addition des résistances locales. En relisant Andorno, notamment, Rahel Jaeggi va plus loin, en avançant l’hypothèse de conditions pratiques d’apprentissage, permettant de nous déplacer positivement par rapport à ce qui nous semble a priori être en mesure de résoudre nos problèmes.

Straipsnyje Adorno materialaus „netapatumo“ filosofema kontekstualizuojama vokiečių idealizmo tradicijos, konkrečiai – Kanto ir Hegelio filosofijos, kontekste. Ginama tezė, kad „sekuliarizuoti metafiziką“ 'Negatyviojoje dialektikoje' reiškia vokiečių idealizmo, kaip tradicijos, įveiką, jos paneigimą ir kartu – pratęsimą. Tezę ginu šiais žingsniais: 1) parodau Apšvietos susietumą su autonomiško transcendentalinio subjekto steigtimi; 2) kontekstualizuodamas Adorno tiesos sampratą kaip 'non-adaequatio', rekonstruoju Adorno argumentą prieš Hegelį; 3) aptardamas Adorno istoriškumo sampratą išryškinu jo netapatumo filosofemos socioistorinį turinį; 4) parodau, kaip netapatumo filosofema veikia kaip ratio apribojimas, o kartu ir kaip mėginimas mąstyti tapatumą iš netapatumo perspektyvos; 5) rekonstruoju Adorno argumentą prieš Kantą santykyje su jo filosofijos metakritika Hegelio 'Tikėjime ir žinojime'. Pagrindiniai žodžiai: Adorno, Hegelis, Kantas, 'Negatyvioji dialektika'. The aim of this article is to frame Adorno’s concept of ‘nonidentity’ in the context of German idealism, namely, the philosophies of Kant and Hegel. The thesis to be defended is that “Secularization of Metaphysics” entails relinquishing, as well as prolongation of the German idealist tradition. The argument is developed in the following steps: 1) the constitution of an autonomous transcendental subject is shown to be rooted in the idea of Enlightenment; 2) by reconstructing Adorno’s conception of truth as 'non-adaequatio', I claim that Adorno’s philosophy is conducted from the perspective of the end of philosophy; 3) the sociohistorical character of the concept of ‘nonidentity’ is discussed in relation to Adorno’s understanding of history; 4) the concept of ‘nonidentity’ is discussed as implying a continuation of the Kantian project on a metacritical level; 5) Adorno’s critique of Kant is reconstructed in the context of Hegel’s Faith and Knowledge. Keywords: Adorno, Hegel, Kant, 'Negative Dialectics'.

Bu tez kültür ve sanatın içinde müziğin uğradığı değişimi Adorno ve Frankfurt Okulu düşünürlerinin perspektifinde, bunun yanı sıra antik dönemlerdeki düşünürlerin de söylemlerine yer vererek modern çağ ve postmodern çağ sonrası salt müzin gelmiş olduğu noktadan hareketle teknolojinin müziğe olan dahlini ortaya koymaya çalışmaktadır. Yöntem olarak görüşme tekniği çerçevesinde alan özgü sorularla elde edilen bilgiler çeştli bulgulara dönüşmüştür. Böylelikle elde edilen bulguların ışığında geleceğe yönelik müziğin teknoloji ile ilişkisi irdelenmiş ve çeşitli sonuçlara gidilmeye çalışılmıştır. Sanatın can damarlarından biri olan müziğin, Adorno’nun gözlem ve söylemlerinin ekseriyetle eleştirel kimlikte olmasından yola çıkılarak, bu sanat dalının nasıl bir meta haline geldiğini ve bu metalaşmanın etkilerinin ne boyutta ve nasıl sürdüğünü objektif ve yapıcı bir boyut çerçevesinde incelemek bu çalışmanın ana hattı olacaktır., This thesis tries to reveal the involvement of technology in music from the point of view of the change that music has undergone in culture and art, from the perspective of Adorno and Frankfurt School thinkers, as well as the discourses of thinkers in ancient times, from the point where pure music has come from the modern age and postmodern age. As a method, the information obtained with field-specific questions within the framework of the interview technique turned into various findings. Thus, in the light of the findings obtained, the relationship between future-oriented music and technology has been examined and various results have been tried to be reached. The main line of this study will be to examine how music, one of the vital points of art, and Adorno's observations and discourses are mostly of a critical identity, how this branch of art has become a commodity and to what extent and how the effects of this commodification continue, within the framework of an objective and constructive dimension.

Contre les lectures négatives de l’œuvre de Beckett, on insistera sur l’énergie et le pouvoir configurant d’une écriture cherchant sa voie dans un « mal voir, mal dire », à travers trois moments de la création : la logique sceptique des jeux combinatoires de Watt ; la dramaturgie énonciative de L’Innommable ; les dispositifs expérimentaux du minimalisme tardif. D’âge en âge, la vis negativa au principe de l’ascèse méthodique dessine un processus de stylisation littéraire.

L���articolo esamina l���impegno di Adorno nella formulazione di un concetto di cultura, che non risulti schiacciato tra i due poli della reificazione a bene culturale e a quello di merce. In questo ambito la pedagogia musicale si evidenzia come un compito cruciale per mettere alla prova la possibilit�� di un���educazione all���arte intesa come produzione di senso. Un confronto con le recenti critiche alla concezione dell���arte adorniana (Georgina Born, Tia De Nora, Antoine Hennion) conferma che la prospettiva adorniana, nonostante gli ovvi anacronismi, costituisce un���alternativa rispetto la tentazione di impiegare l���educazione musicale unicamente come strumento di inclusione sociale e di costruzione dell���identit�� individuale e di gruppo, e l���invocazione alla mera conservazione della cultura musicale del passato., Musica Docta, Vol. 11 (2021)

At the centre of Adorno's critical theory of society lies the problem of Bann or Bannkreis: why do individuals systematically act in ways that reinforce conditions that are obviously incompatible with their freedom and pursuit of happiness? Despite criticism of Dewey's experimentalism by several Frankfurt School critical theorists claiming that the American pragmatist fails to account for systematic blockages to critique, Dewey does in fact formulate his approach to social critique as a response to the problem that social life might be made immune to transformative claims. In Human Nature and Conduct, thirty years prior to Adorno's Bannkreis, he conceptualizes a 'vicious circle' in which attempts to transform social life seem to be caught and points to a way out. This article shows that Adorno and Dewey share in a project at the heart of critical theory, the project of a disclosing critique of society. In different and mutually completing ways, the Frankfurt School critical theorist and the American pragmatist point out the extent to which their contemporary societies are caught in antagonistic and painful vicious circles and thereby point to the objective possibility of another form of social life. The article is historical, but it is animated by the intent to brush a fruitful path for disclosing critique today. From Adorno, this critical practice gains the idea that theory of society can be a disclosing gesture, which presents an important corrective to Dewey's failure to trace the eclipse of the public. From Dewey, it gets a reminder that these theories must find ways to continue into ordinary life experience through group action for their disclosure to come full circle., Philosophy & Social Criticism, 48 (10), ISSN:0191-4537, ISSN:1461-734X

Summary Walter Benjamin famously argued that the mass public of the twentieth century would necessarily correlate with a newly politicized art. But the world has changed considerably since Benjamin’s article was written, as Theodor Adorno and Max Horkheimer already were assessing less than a decade later. It is the purpose of this article to examine how the aesthetics of the Frankfurt school, though frequently still invoked, have lost some of their immediate relevance. The anti-establishment phase of the 60s, compounded by a pronounced taste for irony, rendered aura and exhibition outmoded values, while on the other hand, more recently, price escalation in the art market and digitization have made certain of the Frankfurt school arguments more pertinent than ever. Taking as examples Goldsworthy and Kentridge, this essay argues that a deliberate loosening of the artist’s control over both medium and reception displaces the warmed-over religious responses endorsed by Benjamin, positing instead increased intellectual agency on the part of viewers, whose identity as a mass public has become newly complicated.

Most of the debate about the differences between Hegel's and Adorno's dialectical approaches focuses either on the logical structure of the dialectic or on the implications of an inversion materialist of the Hegelian idealistic dialectic. This article rehearses a detour from this discussion, suggesting that the scope of dialectics is quite different in the two authors. Besides thinking about the differences in dialectical approaches, it would be necessary to distinguish the realm and character of dialectics in each of them. In other words, to emphasize that Adorno and Hegel also differ in their understanding of what moves in a dialectical way.

RESUMO Na segunda metade da década de 1930, Theodor W. Adorno e Alfred Sohn-Rethel estabeleceram um rico intercâmbio teórico, no qual uma enorme convergência inicial evolui para um gradual afastamento. Apesar de não reconhecer de pronto a procedência dos argumentos de Sohn-Rethel contra a formulação de seu procedimento de crítica imanente, Adorno os incorpora anos mais tarde. Além disso, a descoberta dessa revisão subterrânea ajuda a explicitar o sentido da transcendência da crítica imanente adorniana e sua relação com a crítica da economia política marxiana. ABSTRACT In the second half of the 1930s, Theodor W. Adorno and Alfred Sohn-Rethel established a rich theoretical exchange, in which a huge initial convergence evolved into a gradual alienation. Despite not immediately acknowledging the validity of Sohn-Rethel’s arguments against the formulation of his procedure of immanent critique, Adorno incorporates such arguments years later. Moreover, the discovery of this subterranean review helps clarifying the meaning of transcendence of the Adornian immanent critique and its relation with the Marxian critique political economy.

Text in Turkish ; Abstract: Turkish and English Includes bibliographical references (leaves 101-107) x, 108 leaves Sanat, ortaya çıktığı ilk andan itibaren toplumsal bir fenomen olmuştur; ister dini, ister siyasi veyahut askeri ya da ekonomik olsun, her zaman toplumla bir bağ içerisindedir ve toplumun biz uzantısı, bir yansımasıdır. Aynı zamanda bu toplumsal faktörler de sanatın içeriğini veya görünümünü etkilemiştir her zaman. Bugün, tarih öncesi sanatı, dini sanat, ritüel sanatı olarak tanımlamak oldukça kolay ve yaygın bir iştir, fakat bir ana tanrıça figürünü ile, bir kiliseye asılan Meryem ve Çocuk İsa’yı gösteren bir altar panasu toplumsal işlev olarak çok büyük bir fark yoktur, yalnızca farklı fikirlere hizmet eden fakat tözsel olarak aynı olan iki şeyi ifade ederler. Şu veya bu şekilde toplumsal faktörlere göre değişse de töz olarak hep aynıdır sanat ve aynı biricikliğe sahiptir. Sanattaki asıl değişim bu tözün kırılması ya da topyekûn ortadan kaldırılmasıdır. Sanattaki bu büyük değişim, sanatın metalaşması ve böylelikle bir kültür endüstrisinin ortaya çıkmış olmasıdır. Alman düşünür Theodor W. Adorno’nun ortaya koyduğu ‘’Kültür Endüstrisi’’ kuramının temelinde bu ekonomik metalaşma fikri yatar. Bienaller, çağdaş sanatın en önemli kendini sergileme alanı olarak sanat dünyasında veyahut kültür endüstrisinde büyük bir öneme sahiptir. Kökleri 19. yüzyıla dek sürülse de bugün bildiğimiz haliyle bienaller, ileri kapitalizmin de yükselişe geçtiği, savaş sonrası dünyanın bir pratiği haline gelmiş ve çağdaş sanatın merkezi olmuşlardır. Her bienal, kendisini bir meta olarak satmaya çalışan bir şehir ve durmadan büyüyen küresel sanat piyasasının pastasından bir pay almaya can atan sermaye sahiplerini de yanında getirir. Çalışmamızda, kitle kültürünün şehir, ekonomi, emlak ve sermaye sahipleri ile olan ilişkisi bağlamında, Theodor W. Adorno"nun "Kültür Endüstrisi" kuramının temelinde yer alan kültürün ekonomik şeyleşme fikri üzerinden 9. İstanbul Bienali’nin yapıldığı mekanlar, Adorno’nun kuramının izlerini sürme amacıyla irdelenmiştir. İstanbul Bienali gibi yüksek bütçeli sanat organizasyonlarının hayatta kalması, sermaye sahiplerinin maddi güçlerini bienal sponsorları olarak kullanma arzularına bağlıdır. Bu durum da doğal olarak İstanbul Bienali’nin sponsorların ticari ve imaj taleplerini dolayı göz ardı edememe durumunu yaratmaktadır. Eğer sponsorlar memnun edilmezlerse, tekrar bienale maddi destek vermeyerek bu yüksek bütçeli sanat organizasyonunun darboğaza girmesine sebep olurlar. Kültür endüstrisi kuramında Theodor W. Adorno tam da bu durumun kitle kültürünü endüstrileşen bir ekonomik şeyleşmeye sebep olduğunu ileri sürer. Art, from the moment it emerged and on, has been a social phenomenon; whether it is religious, political, military or economic, it always is in a strong connection with the society and is an extent and a reflection of it. At the same time, those social factors has always effected art’s content and appearance. Today, it’s a quite easy and common practice to call pre-historic art as ‘’religion art’’ or ‘’ritual art’’, but there’s not that of a big difference between a mother of goddess figurine and an altarpiece depicting Virgin Mary and Christ Child, they just stand for two distinct things serving up different ideas yet having the same substance as art. Art is all the same substantively, even if it changes accordingly to social factors. The real change in art comes with the breaking of that substance or to get rid of it all together. This immense change in art is the commodification (or reification) and thus the creation of the culture industry. The German philosopher Theodor W. Adorno laid out the theory of ‘’Culture Industry’’ with that economical commodification idea in its foundation. Biennials have an essential importance in the art world of culture industry as the most significant self-manifestation places of contemporary art. Regardless of their roots that go back to the 19th century, a biennial was we know it today has become a practice of the post-war world and grew into being the hub of contemporary art scene. In our study, the venues of the 9th Istanbul Biennial are examined in the context of mass culture’s relation to a city, to economy, to real estate and to capital owners and through the idea of economic reification which is the foundation of Theodor W. Adorno’s theory of ‘’Culture Industry’’, with special aim with the aim of unveiling the traces of Adorno’s theory. The survival of big-budget art organizations such as Istanbul Biennial depend on the financers’ wish to use their financial powers as a biennial sponsor. This, naturally, creates a situation in which the sponsors of the Istanbul Biennial are not able to overlook due to their commercial demands and image. If the sponsors are left unsatisfied, they can put his big budget art organization to in a financial stringency. Theodor W. Adorno, in his culture industry theory, claims that this very circumstance causes mass culture to economically reify. The survival of big- budget art organizations such as Istanbul Biennial depend on the financers’ wish to use their financial powers as a biennial sponsor. This, naturally, creates a situation in which the sponsors of the Istanbul Biennial are not able to overlook due to their commercial demands and image. If the sponsors are left unsatisfied, they can put his big budget art organization to in a financial stringency. Theodor W. Adorno, in his culture industry theory, claims that this very circumstance causes mass culture to economically reify. After discussing the concept of biennial and the Istanbul Biennial in a general framework in the first chapter, the ‘’Culture Industry’’ theory of Theodor W. Adorno is examined in the second chapter. In the last chapter, traces the culture industry theory of Adorno is followed in the 9th Istanbul Biennial in the context of locations, economy and capital. GİRİŞ BİENAL KAVRAMI VE İSTANBUL BİENALİ Bienal Kavramı ve Bienallerin Tarihçesi İstanbul Bienali Öncesi Türkiye’de Sanatsal Oluşumlar ve Faaliyetler İstanbul Bienali’nin Ortaya Çıkışı ve Tarihçesi THEODOR W. ADORNO VE KÜLTÜR ENDÜSTRİSİ KURAMI Theodor W. Adorno’nun Hayatı ve Felsefesi Theodor W. Adorno’nun Kültür Endüstrisi Kuramı 9. İSTANBUL BİENALİ MEKANLARINDA THEODOR W. ADORNO’NUN KÜLTÜR ENDÜSTRİSİ KURAMI İZLERİ 9. İstanbul Bienali’nin Oluşumu ve Kavramsal Çerçevesi 9. İstanbul Bienali ve Bir Meta Olarak İstanbul Mekânsal Dönüşüm ve Dönüşen Mekanlar: 9. İstanbul Bienali Mekanları SONUÇ

Resumo: O propósito deste trabalho consiste na reconstrução dos conceitos de constelação, parataxe e ensaio no pensamento de Theodor Adorno, no intuito de aproximá-los por afinidade, porém, demonstrando a maneira que cada qual expressa, dentro de suas especificidades, a insistência de Adorno em um modelo de pensamento no qual o não idêntico: 1) resiste à subsunção conceitual, ao se dispor em uma configuração constelatória; 2) não sucumbe a justaposições subordinadas próprias da linguagem meramente comunicativa; e 3) encontra sua melhor expressão filosófica na forma ensaio. Para tanto, tomar-se-á como ponto de partida o rearranjo da categoria de constelação como herança do pensamento de Walter Benjamin, para, em seguida, apresentar a ampliação dessa categoria no pensamento de Adorno, relacionando-a tanto à concepção de parataxe como à acepção da forma ensaio, mas visando a entender essas categorias enquanto modo de se pensar filosoficamente, com vistas à elucidação do lugar do não idêntico no âmbito do pensamento dialético. Abstract: The objective of this work is to reconstruct the concepts of constellation, parataxis and essay, from the perspective of Theodor Adorno, in order to approach them by affinity, but demonstrating the way that each one expresses within its specificities the Adorno’s insistence in a model of thought in which the non-identical: 1) resists conceptual subsumption by arranging itself in a constellatory configuration; 2) it does not succumb to subordinate juxtapositions typical of merely communicative language; and, 3) finds its best philosophical expression in the essay form. In order to do so, we will take as a starting point the adornian reconstruction of the constellation category as a legacy of Walter Benjamin’s thought, so that later we can present the expansion of this category in Adorno’s thought, relating it both to the conception of parataxis as in the conception of the essay form, but aiming to understand these categories as way of thinking philosophically aiming to elucidate the place of the non-identical in the scope of dialectical thinking of Theodor Adorno.

Artikkelissa tarkastellaan Theodor W. Adornon ajattelua. Vastoin kuvaa Adornosta käytännölle vihamielisenä teoreetikkona artikkeli tuo esiin Adornon teoriaymmärrykselle konstitutiivisen poliittisen ja käytännöllisen luonteen. Artikkeli tarkastelee Adornon suhdetta Hegeliin sekä esittelee Adornon Marx-tulkinnan keskeisiä piirteitä. Artikkelin pääteesi on, että Adorno kehittää uutta tapaa ymmärtää teoria. Hänelle teoria on käytännön muoto, joka on olemassa vain interventioina yhteiskunnalliseen todellisuuteen. Tämä tarkoittaa luopumista pyrkimyksestä teoreettisiin systeemeihin sekä radikaalia kritiikkiä filosofian itseymmärrystä kohtaan. Kun Adornon ymmärrys teorian luonteesta ymmärretään, kyseenalaistuvat myös väitteet hänen ajattelunsa pessimismistä.

Die gegenwärtige Debatte über die normativen Grundlagen Kritischer Theorie lässt sich nur vor dem Hintergrund ihrer Geschichte verstehen: Die Defizite in den Konzeptionen der 1. und 2. Generation strukturieren das Feld der Optionen, die heute noch als aussichtsreich gelten können. Der Blick zurück schärft den Blick nach vorn. Im ersten Teil des Beitrags werde ich deshalb die Hauptthesen, ethischen Implikationen und Einseitigkeiten von Horkheimers Zur Kritik der instrumentellen Vernunft darstellen. Im zweiten Teil werde ich die (von Horkheimer beiläufig angedachte und) von Habermas ausgearbeitete These diskutieren, dass der Sprache das nicht-instrumentelle Telos der Verständigung innewohnt. Zudem werde ich zeigen, dass es Habermas nicht gelingt, den für seine Diskursethik zentralen Universalisierungsgrundsatz abzuleiten. Wie sich die Begründungsprobleme bei Horkheimer und Habermas auf die gegenwärtige Debatte auswirken, werde ich im dritten Teil besprechen.

International audience; Tradução de “Anmerkungen zum sozialen Konflikt heute”. In: Adorno, T. W. Gesammelte Schriften, Band 8. Frankfurt a. M.: Suhrkamp, pp. 177-195. Traduzido por Yasmin Afshar

Este número da Remate de Males propôs, em sua ementa, uma reflexão contemporânea sobre a arte. Partindo da problematização colocada por Adorno, cuja estética representa uma tentativa radical de construir uma teoria abrangente, dialeticamente clássica, da obra de arte – e, por decorrência, da literatura –, podemos considerar o texto artístico como um enigma sem solução. Entretanto, se de um lado a sua ideia do artefato estético como esperança diante da opressão social aparenta ser hoje resíduo de uma época e de uma forma de pensamento historicamente superadas, de outro seria possível identificar elementos atuais que dariam novo fôlego para uma nova relevância de sistematizações como a de Adorno. Os textos que responderam ao chamado da revista oferecem ricas considerações a respeito dessa problemática.

Resumo: Esta é a tradução inédita de um capítulo escrito por Theodor W. Adorno, em 1948, que integraria o livro The Authoritarian Personality, publicado em 1950, mas que acabou não incluído na obra. Nesse capítulo, Adorno pretende delinear em contornos mais precisos o conceito de “antropologia” do tipo autoritário, exposto na obra. O autor o descreve de forma bastante precisa: não sendo uma abordagem psicológica, nem sociológica, muito menos existencialista e religiosa, a antropologia do autoritário retratada aqui denota parte da formação hegemônica de indivíduos sob influência do capitalismo administrado. A tradução é precedida por um texto introdutório (de autoria da tradutora), o qual apresenta e contextualiza o capítulo traduzido e o relaciona com o livro original, publicado em 1950. Abstract: This is the inedited translation of a chapter written by Theodor W. Adorno in 1948 that would integrate the book “The Authoritarian Personality”, published in 1950, but which was not included in the work. In this chapter, Adorno intends to outline in more precise terms the concept of “anthropology” of the authoritarian type exposed in the work. The author describes it very precisely: not being a psychological, nor a sociological approach, not even existential and religious, the anthropology of the authoritarian portrayed here denotes part of the hegemonic formation of individuals under the influence of administered capitalism. The translation is preceded by an introductory text (authored by the translator) that presents and contextualizes the translated chapter and relates it to the original book published in 1950.

Even though the term “primal pseudos” appears only once in Theodor W. Adorno’s lecture History and Freedom, it is the key for the understanding of Adorno’s concept of nation and nationalism. In the aforementioned lecture the term “primal pseudos” describes the contradiction immanent in the concept of the nation. The critical investigation into the immanent contradiction of the concept of the nation discloses the impossibility of what nationalism wants rather than its falseness.

Contribution to the Krisis special issue: "70 Years Minima Moralia"

At the end of the 20th century, two American thinkers became the “rulers of thoughts”, each of whom expressed his opinion about the modern era - Francis Fukuyama and Samuel Huntington. Francis Fukuyama published the article The End of History. This article immediately became a worldwide sensation. Samuel Huntington published an article on the basis of which he glorified his book The Clash of Civilizations. Among the scientific priorities of Russian philosophy belongs Slavophilism – a philosophical and historical concept of the fundamental dissimilarity (or even hostility) of Russian and Western civilizations. As a result, the old era with its values is ending, and the new one has not yet arrived, which marked a kind of “postmodern”. The aim of the study was to study the main directions of philosophy of the 21st century – universalism and pochvennichestvo, which formed philosophical postmodernism. Historical, comparative, logical and deductive methods were used to achieve the abandoned goal and solve the research problems. The study used materials from the works of such great philosophers of our time as Francis Fukuyama, Samuel Huntington, Theodor Adorno and others. The author comes to the conclusion that the decline of Western civilization does not mean the decline of humanity as such. Today, one can observe the gradual rise not only of new countries that until recently were the periphery of the world, but also expect the rise of new philosophical teachings. They will undoubtedly be based on the philosophical justification of the originality of their civilization. These will be original national versions of “Slavophilism”.

RESUMO: Tendo como sustentáculo teórico, em especial, as obras do frankfurtiano Theodor Adorno, este trabalho objetiva refletir acerca das questões relacionadas ao processo de industrialização da cultura cujo desenvolvimento é intrínseco ao processo de dominação do capitalismo tardio. Amparada pelos pressupostos da teoria crítica da sociedade, o presente artigo visa refletir sobre a formação dos sujeitos dentro deste panorama histórico-cultural., Through the texts of the authors of the Frankfurt School, especially Theodor Adorno and Max Horkheimer, this work aims to reflect on the questions related to the industrialization process of culture, whose development is inherent to the process of control of late capitalism. Starting from the principles of critical theory of society, this research hopes to reflect on the formation of the subjects in this cultural-historical context.

Due to the naturalization of the protagonism of the concept of experience in the interpretation of Theodor Adorno's dialectic, this article intends to elucidate some lines of displacement from the category of experience to the category of mediation, from the critical appropriation of this category of Hegel's thought by Adorno; because, since all experience is mediated, mediation presents itself as a condition for the realization of the experience and, for this reason, mediation is established as a privileged instance in the process of knowledge in the scope of the subject and object relationship, given that defines itself as a cause and condition for the organization of experience. Fundamentally, the proposal is to demonstrate that both Hegelian and Adornian dialectics - despite their idiosyncrasies - have in mediation their motivic aspect of determining the subjective and the objective. Therefore, the concept of mediation will be presented as a transversal and reciprocal component that, at the same time that it brings together, distinguishes the related aspects, making dialectics a procedure, within which mediation becomes a condition and fundamental for the development and the determination of the concepts circumscribed in a given context or situation. In this sense, mediation will emerge as the structuring agent of experience, a fact that justifies its priority in relation to experience, as described by Hegel. Em virtude da naturalização do protagonismo da concepção de experiência na interpretação da dialética de Theodor Adorno, esse artigo pretende elucidar algumas linhas de deslocamento da categoria de experiência para a categoria de mediação, a partir da apropriação crítica desta categoria do pensamento de Hegel por Adorno; pois, uma vez que toda experiência é mediada, a mediação apresenta-se como condição para a efetivação da experiência e, por esta razão, a mediação se estabelece enquanto instância privilegiada no processo do conhecimento no âmbito da relação sujeito e objeto, haja vista que se define enquanto causa e condição para a organização da experiência. Fundamentalmente, a proposta é demonstrar que tanto a dialética hegeliana quanto a adorniana - não obstante suas idiossincrasias - têm na mediação seu aspecto motívico de determinação do subjetivo e do objetivo. Portanto, o conceito de mediação será apresentado como um componente transversal e de determinidade recíproca que, ao mesmo tempo que aproxima, distingue os aspectos relacionados, fazendo da dialética um procedimento, no âmbito do qual a mediação vem a ser condição e fundamento para o desenvolvimento e a determinação dos conceitos circunscritos em um dado contexto ou situação. Nesse sentido, a mediação despontará como o agente estruturador da experiência, fator que justificará sua prioridade em relação à experiência.

Einer der bekanntesten Texte über die Gefahren der Präsenz des Faschismus in zeitgenössischen Gesellschaften war die berühmte Post-Auschwitz Education – zunächst von Theodor Adorno als Vortrag gehalten, am 18. April 1965, und kurz darauf als Artikel in Frankfurt veröffentlicht (1967). Dieser Text stellt das Konzept des Faschismus wieder auf eine neue Ebene, indem er sich von der historischen Konzeptualisierung des Faschismus entfernt, aber ein Verständnis der Permanenz von Verhaltensweisen ermöglicht, die in zeitgenössischen Gesellschaften als faschistisch bezeichnet werden können. In diesem Artikel beabsichtigen wir, diese von Adorno begonnene Diskussion auf der Grundlage dieses klassischen Textes erneut aufzugreifen, ihn schließlich mit anderen Texten zu vergleichen und spätere historische Beispiele hinzuzufügen, wie das Massaker an Tutsis in Ruanda im Jahr 1994. Faschistische Verhaltensweisen scheinen darin aufzutauchen. In vielen Momenten ist die erneute Diskussion dieses klassischen Textes über den Faschismus angebracht. One of the most celebrated texts on the risks of the presence of fascism in contemporary societies was the famous Post-Auschwitz Education - initially given by Theodor Adorn as a lecture, on April 18, 1965, and shortly afterwards published as an article in Frankfurt (1967). This text reinstates the concept of fascism on a new scale, moving away from the definitions brought by the historical conception of fascism, but allowing us, on the other hands, to advance in a comprehension about the permanence of behaviors that can be said as fascists in contemporary societies. In this article, we intend to revisit this discussion launched by Adorno in this classic text, eventually comparing it with other texts and adding also later historical examples, such as the Tutsi massacre in Rwanda in 1994. Since nowadays the fascist behaviors seem to emerge in many moments, the approaching of this classic text about fascism can be particularly important. Uno de los textos más célebres sobre los riesgos de la presencia del fascismo en las sociedades contemporáneas fue el famoso Post-Auschwitz Education – inicialmente impartido por Theodor Adorno como conferencia, el 18 de abril de 1965, y poco después publicado como artículo en Frankfurt ( 1967). Este texto vuelve a colocar el concepto de fascismo en una nueva escala, alejándose de la conceptualización histórica del fascismo pero permitiendo avanzar en la comprensión de la permanencia de comportamientos que pueden denominarse fascistas en las sociedades contemporáneas. En este artículo, pretendemos retomar esta discusión lanzada por Adorno, a partir de este texto clásico, comparándolo eventualmente con otros textos y agregando ejemplos históricos posteriores, como la masacre de tutsis en Ruanda, en 1994. Los comportamientos fascistas parecen aflorar en En muchos momentos, la re-discusión de este texto clásico sobre el fascismo es oportuna. Um dos mais célebres textos sobre os riscos da presença do fascismo nas sociedades contemporâneas foi o célebre Educação Pós-Auschwitz – inicialmente proferido por Theodor Adorno como palestra, em 18 de abril de 1965, e pouco depois publicado como artigo em Frankfurt (1967). Este texto recoloca o conceito de fascismo em uma nova escala, afastando-se da conceituação histórica do fascismo mas permitindo avançar em uma compreensão sobre a permanência de comportamentos que podem ser ditos como fascistas nas sociedades contemporâneas. Neste artigo, pretendemos revisitar essa discussão lançada por Adorno, a partir deste texto clássico, cotejando-o eventualmente com outros textos e acrescentando exemplos históricos posteriores a ele, como o massacre de tutsis em Ruanda, em 1994. Nos tempos atuais, em que os comportamentos fascistas parecem aflorar em muitos momentos, a rediscussão deste texto clássico sobre o fascismo mostra-se oportuna.

Realizada numa escola pública do município de Sergipe, este artigo analisa e descreve uma intervenção, no ensino médio, em que o uso de cinema foi o suporte principal desta experiência. Para tal, tornou-se necessário delimitar o arcabouço teórico deste trabalho, a partir de duas principais referências: um breve debate entre Theodor Adorno e o filósofo contemporâneo Julio Cabrera. Em seguida, demonstramos as etapas metodológicas desta intervenção, expondo suas fluências e retificações. Da escolha dos filmes até as atividades propostas, alunos e alunas comprovam que o cinema pode ser um dos grandes aliados ao fomento de um autêntico ambiente filosófico. Nossa pesquisa-intervenção indica caminhos para desconstruir a Indústria Cultural a partir dela mesma, por meio dos conceitos, elaborados por Cabrera, de logopatia e conceito-imagem. Com isto, filmes considerados comerciais não precisam ser excluídos do universo fílmico dos jovens, uma vez que eles também possuem grande potencial filosófico. O cinema, no cotidiano das aulas de filosofia, apresenta-se não só como instrumento de extração de conceitos de temas clássicos da filosofia, mas no desencadear do próprio ato de filosofar.

Augusto Salazar Bondy trató acerca del concepto de dominación para poder elaborar una teoría que diese cuenta del modo en el que está sometido un pueblo entero a nivel cultural. Para él, la dominación cultural consiste en mantener a la población debidamente ocupada y distraída. De ahí que pueda plantearse la idea de una “manipulación cultural”. Al respecto, Antonio Gramsci explicó que la actual clase social en el poder logra conseguir la hegemonía cultural de la sociedad imponiendo su agenda, sus necesidades y prioridades (su visión del mundo) a toda la ciudadanía. El concepto de “industria cultural” de Adorno se revela de suma utilidad para entender aspectos específicos acerca de cómo se seduce la sensibilidad estética de los ciudadanos alterando constantemente los productos culturales que constituyen su cosmovisión. Asimismo, la dominación de la sociedad se vuelve más evidente considerando el papel que los aparatos tecnológicos juegan en el entramado social, según Marcuse. De este modo, se justifica el sometimiento que ejerce el capitalismo apelando a los frutos tecnológicos que esta sociedad está gozando. Sin embargo, es necesario recordar con Salazar Bondy que, para poder superar nuestra situación, hace falta reconocer que la sociedad está sumergida en una cultura de la dominación la cual se puede combatir ideológicamente. Finalmente, se utiliza la propuesta de Gramsci para indicar que la clase social dominada tendrá que reaccionar ante semejante treta política articulando su punto de vista con el conjunto de explotados en una amalgama de ideas para producir la contrahegemonía.

Lo scopo del presente articolo è quello di stabilire una connessione fra il pensiero estetico di Adorno e quello di Nietzsche passando attraverso lo sviluppo della nozione di barocco. Il concetto di barocco viene analizzato nella sua origine nietzschiana e nel suo sviluppo da parte di storici dell’arte come Wölfflin e Riegl. Viene quindi considerata la critica di Adorno a questa concezione del barocco, che egli considera un vero e proprio abuso concettuale. Il testo rappresenta l’inizio di una più vasta ricerca sul concetto di barocco nel periodo compreso fra fine Ottocento e fine Novecento.__The aim of this article is to determine a relation between Adorno’s and Nietzsche’s aesthetical thoughts by defining the category of baroque. We shall analyse the Nietzschean origin of this category and its development by art historian such as Wöllflin and Riegl. We shall discuss the Adorno’s criticizing of this conceptual definition, which he considers a real conceptual abuse. The text is also the beginning of a more extended research on the concept of baroque during the period from the end of 19th century to the end of the 20th.

1. « Contre le cinéma », c’est le titre d’un fascicule contenant les découpages de trois films de Debord : Hurlements en faveur de Sade, Sur le passage de quelques personnes à travers une assez courte unité de temps et Critique de la séparation. Publié par Asger Jorn au nom de l’Institut Scandinave de Vandalisme Comparé, il contient une étude de Jorn qui tend à définir le cinéma de Debord comme un cinéma s’inscrivant dans le sillage du « bouleversement définitif de l’art cinématographique app...

Si la philosophie d’Adorno compte parmi les grandes pensées du XXe siècle, l’enjeu, désormais, est celui de sa réception et de la manière dont il convient d’en hériter pour le siècle à venir. On sait aujourd’hui que, malgré les éléments de rupture, les propositions théoriques d’Adorno et de la première génération de l’École de Francfort ont profondément marqué la théorie habermassienne de l’agir communicationnel, dont l’insistance sur l’intersubjectivité a elle-même été déterminante pour la t...

L’ouverture de l’introduction à la Dialectique négative fait référence à la 11e thèse de Marx sur Feuerbach : Une philosophie qui parut jadis dépassée, se maintient en vie parce que le moment de sa réalisation fut manqué. Le jugement sommaire selon lequel elle n’aurait fait qu’interpréter le monde et que par résignation devant la réalité, elle se serait aussi atrophiée en elle-même, se transforme en défaitisme de la raison après que la transformation du monde eut échoué. Il n’offre aucun lieu...

International audience; Une pensée nouvelle n'est pas là pour réjouir, elle est là pour déranger. Cela, Adorno le savait, lui qui, à l'été 1966, écrivait : "L'auteur s'attend aux résistances auxquelles la Dialectique négatives'expose" . Par un paradoxe assumé, Adorno affirme que la philosophie fait preuve de sa plus grande actualité au moment même où elle est la plus intempestive, c'est-à-dire lorsqu'elle n'esquive pas le difficile combat promis à qui veut critiquer les positions établies. Issu d'un colloque tenu à Nanterre en mars 2017, l'ouvrage collectif Adorno contre son tempspropose de revisiter l'oeuvre d'Adorno à la lumière de ce pas de côté qu'elle a toujours su faire pour échapper à la pensée dominante de son temps. Il s'agit par là de tracer une transversale à même de parcourir ses différents aspects, de la philosophie à l'esthétique, et de la sociologie à la politique. Un parcours qui revient aussi à interroger l'actualité de la pensée adornienne, car en tant que penseurcontreson temps, il se pourrait qu'Adorno soit aussi un penseur pournotre temps, et que les combats d'hier fassent encore sens aujourd'hui.

Il est établi que la confrontation de la théorie critique à la psychanalyse est décisive pour le développement de l’Institut de recherches sociales de Francfort. Horkheimer, Fromm et Adorno notent très tôt l’actualité et le caractère central du croisement entre psychanalyse et Théorie critique de la société, et lui consacrent de nombreux programmes de recherches. Les implications d’une telle confrontation sont cependant moins souvent mises en relief : de nombreuses variantes de ce croisement,...

Lorsqu’Adorno se positionne contre son temps, c’est d’abord contre une certaine conception ontologique du temps qui s’est développée dans la philosophie allemande au cours du XXe siècle, et qui fait de la temporalité de l’être la question fondamentale. Il s’agit bien évidemment pour le philosophe de Francfort de se confronter à Heidegger qui, de Être et temps (1927) à Temps et être (1962), n’a eu de cesse de s’employer à élucider le rapport qui unit l’être au temps. Pour résumer à grands trai...

L’expérience et la régression Sous le titre « à contr’espace » je tenterai de cerner, du côté de la pensée de la musique d’Adorno, un pas de côté qui concerne l’espace. Ce dernier n’est donc pas celui auquel on pourrait s’attendre, lequel concerne la forme et la domination du matériau, selon une évolution de la musique au XXe siècle que les musicologues étudient et qu’Adorno lui-même a tout à fait repérée : il l’explicite en effet dans certains de ses écrits, au premier chef dans le texte sur...

Le motif du « contretemps » et l’image d’un Adorno « contre son temps » nous ont tout d’abord évoqué le souvenir qu’en retrace Norbert Elias qui l’a fréquenté à Francfort au tout début des années 1930, quand Adorno était encore le jeune collaborateur de Horkheimer et lui le jeune assistant de Karl Mannheim. Lorsqu’il reçoit, décerné par la ville de Francfort, le 2 octobre 1977, le premier prix Adorno, Elias dans un discours intitulé « Respect et critique » évoque la mémoire d’Adorno avant d’e...