Eric Oberle. Theodor Adorno and the Century of Negative Identity.

In the apocryphal text of the Letter (Epistle) of Jeremiah (Ep Jer), a long list of reasons is given by the implied author as to why certain entities alleged to be gods are not in fact such. Brief summaries of the author’s various points characterise scholarly perspectives thereon. What has been overlooked in the research, however, and the topic of this article, concerns the converse fact that, in the construction of a negative identity for divinity, the text also assumes a lot about what a god must actually be like. Moreover, what is implicit in these “meta-theistic” presuppositions has never before been identified; hence the need for an attempted inferential reconstruction of what, according to the polemics of Ep Jer, makes a god divine.

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A EDUCAÇÃO EM GEORGE HERBERT MEAD, JÜRGEN HABERMAS E A TEORIA HERMENÊUTICO-CRÍTICA: tendências, desafios e perspectivas para uma prática pedagógica emancipatória

Trilhas Filosóficas ◽

10.25244/tf.v11i2.471 ◽

2020 ◽

Vol 11 (2) ◽

Author(s):

Shirlene Santos Mafra Medeiros ◽

Rita Maria Radl-Phillipp ◽

José Gilliard Santos da Silva

Keyword(s):

Rio Grande ◽

George Herbert ◽

Jürgen Habermas ◽

George Herbert Mead ◽

Max Horkheimer ◽

Jurgen Habermas ◽

Theodor Adorno

O artigo em questão apresenta a construção coletiva de uma proposta pedagógica para a Escola Estadual Joaquim José de Medeiros, localizada na cidade de Cruzeta, no Estado do Rio Grande do Norte, e possui como base epistemológica a teoria social de George Herbert Mead, Jürgen Habermas e a teoria crítica da educação da Escola de Frankfurt, nas perspectivas de Max Horkheimer, Theodor Adorno (2003), Jürgen Habermas (2012); e, atualmente, de pesquisadores contemporâneos como Freire (2009), Radl-Philipp (1996, 1998, 2014), Bannell (2006), Pucci (2006), Santos (2007), Medeiros (2010-1016), Casagrande (2014) dentre outros autores que estudam Mead e as teorias críticas numa perspectiva emancipatória.

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Um especialista em silêncios: A mediação musical na teoria de Adorno a partir da psicologia vygotskyana

AYVU - Revista de Psicologia ◽

10.22409/ayvu.v3i2.22219 ◽

2017 ◽

Vol 3 (2) ◽

pp. 80

Author(s):

Iván Sánchez-Moreno

Keyword(s):

Theodor Adorno

Neste artigo partimos do conceito de ouvir música como atividade psicológica de primeira ordem, exclusivamente humana, que envolve os aspectos subjetivos particulares de relacionamento com uma realidade sonora. Sem dúvida a psicologia se preocupa com os aspectos subjetivos manifestos na experiência estética da música nas inúmeras situações relacionadas a esta experiência. Nosso trabalho pretende destacar o peso que tinha o modelo da subjetividade de Theodor Adorno em estudos relativos à psicologia da música e disciplinas relacionadas. Nós fornecemos uma perspectiva menos determinista que a classificação tipológica de Adorno sobre o ouvinte da música, perspectiva que não relega o sujeito a um papel passivo frente ao objeto musical. Oposto a isso, as propostas construtivistas de Vygotsky introduzem importantes mudanças na concepção psicológica da música, estabelecendo uma dialética entre o sujeito e as tecnologias de reprodução musical ao longo do século XX.

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Um especialista em silêncios: A mediação musical na teoria de Adorno a partir da psicologia vygotskyana

AYVU - Revista de Psicologia ◽

10.22409/ayvu.v3i2.132 ◽

2017 ◽

Vol 3 (2) ◽

pp. 80

Author(s):

Iván Sánchez-Moreno

Keyword(s):

Theodor Adorno

Neste artigo partimos do conceito de ouvir música como atividade psicológica de primeira ordem, exclusivamente humana, que envolve os aspectos subjetivos particulares de relacionamento com uma realidade sonora. Sem dúvida a psicologia se preocupa com os aspectos subjetivos manifestos na experiência estética da música nas inúmeras situações relacionadas a esta experiência. Nosso trabalho pretende destacar o peso que tinha o modelo da subjetividade de Theodor Adorno em estudos relativos à psicologia da música e disciplinas relacionadas. Nós fornecemos uma perspectiva menos determinista que a classificação tipológica de Adorno sobre o ouvinte da música, perspectiva que não relega o sujeito a um papel passivo frente ao objeto musical. Oposto a isso, as propostas construtivistas de Vygotsky introduzem importantes mudanças na concepção psicológica da música, estabelecendo uma dialética entre o sujeito e as tecnologias de reprodução musical ao longo do século XX.

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Grand Illusion

10.1093/oso/9780190915056.001.0001 ◽

2020 ◽

Author(s):

Gabriela Cruz

Keyword(s):

Karl Marx ◽

Walter Benjamin ◽

Richard Wagner ◽

Giuseppe Verdi ◽

Theodor Adorno ◽

Tristan Und Isolde ◽

Giacomo Meyerbeer ◽

History Of ◽

Grand Opera ◽

Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

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EMMANUEL LEVINAS AND THEODOR ADORNO ON ETHICS AND AESTHETICS

Angelaki ◽

10.1080/0969725x.2019.1655268 ◽

2019 ◽

Vol 24 (5) ◽

pp. 29-43

Author(s):

Stephanie Belmer

Keyword(s):

Emmanuel Levinas ◽

Theodor Adorno

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The Frankfurt School and the authoritarian personality: Balance sheet of an insight

Thesis Eleven ◽

10.1177/07255136211005957 ◽

2021 ◽

pp. 072551362110059

Author(s):

Geoff Boucher

Keyword(s):

Critical Theory ◽

Balance Sheet ◽

Research Programme ◽

Frankfurt School ◽

The Other ◽

Authoritarian Personality ◽

Contemporary World ◽

Authoritarian Populism ◽

Theodor Adorno ◽

School Research

Frankfurt School critical theory is perhaps the most significant theory of society to have developed directly from a research programme focused on the critique of political authoritarianism, as it manifested during the interwar decades of the 20th century. The Frankfurt School’s analysis of the persistent roots – and therefore the perennial nature – of what it describes as the ‘authoritarian personality’ remains influential in the analysis of authoritarian populism in the contemporary world, as evidenced by several recent studies. Yet the tendency in these studies is to reference the final formulation of the category, as expressed in Theodor Adorno and co-thinkers’ The Authoritarian Personality (1950), as if this were a theoretical readymade that can be unproblematically inserted into a measured assessment of the threat to democracy posed by current authoritarian trends. It is high time that the theoretical commitments and political stakes in the category of the authoritarian personality are re-evaluated, in light of the evolution of the Frankfurt School. In this paper, I review the classical theories of the authoritarian personality, arguing that two quite different versions of the theory – one characterological, the other psychodynamic – can be extracted from Frankfurt School research.

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The Beautiful As a “Rescue Hopeless”. Hegel and Adorno

Вопросы философии ◽

10.21146/0042-8744-2021-5-148-158 ◽

2021 ◽

pp. 148-158

Author(s):

Greta G. Solovieva ◽

◽

Zhazira A. Rakhmetova ◽

Keyword(s):

Modern Philosophy ◽

Philosophy Of Art ◽

Social Sphere ◽

Theodor Adorno ◽

The Social ◽

The Absolute ◽

Main Thing ◽

And Shifts

Does modern philosophy of art reject the principles and methods of mastering the reality of classical aesthetics, in particular, the category of the beautiful, emphasizing, on the contrary, the ugly, ugly, terrible, disgusting? The authors strive to find answers in the dialogue of great philosophical masters – “Zeus the Olympian of the German classics” by Hegel and the preacher of “progressive negation” on the border of modernity and postmodernism Theodor Adorno. Hegel insists on the transcendental origin of the beautiful as the coincidence of idea and reality, the sensory phenomenon of the absolute, the resolution of contradictions between the subjective and the objective, the universal and the individual, the finite and the infinite. Adorno opposes, claiming the rights of “beautiful negativity”. He abandons the transcendental character of beauty and shifts the emphasis to the social sphere. The ugly, the ugly, the ugly should not be hidden. But to portray him in such a way as to arouse disgust towards him, the desire to create a project of “righteous life” But the development of the dialogue reveals that both thinkers ultimately agree on the main thing: the beautiful is inescapable and remains the defining category of both aesthetics and life.

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