A lógica da desintegração na Dialética Negativa e na Teoria Estética de Theodor W. Adorno

• Autor(a) principal: Morais, Denis Souza de
• Data de Publicação: 2021
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/11692
• topic: Sujeito; Ontologia; Liberdade; Metafísica; Estética; Subject; Ontology; Freedom; Metaphysics; Aesthetic; CIENCIAS HUMANAS::EDUCACAO::FUNDAMENTOS DA EDUCACAO

The thesis demonstrate that Theodor W. Adorno's intellectual experience is marked: (1) by the uninterrupted use of the logic of the disintegration of the concept in its objectified and reified form; (2) by exposing the movement of categories through its historical development as a product of social work; (3) by the central exposure of the subject category in its multiple determinations inscribed in the historical becoming, demolishing the illusion of an a priori, original, absolute and immutable subjectivity; (4) by providing, based on aesthetic theory, a model of possible and proper use of the categories of reason that frees itself from the coercion of the identification procedures, producing provisional and non-violent syntheses and; (5) for the understanding of modern art, with its tendency to disintegrate materials and forms, as a model par excellence of the subject-object relationship proper to a rationality that surpasses mere instrumental reason. The presentation, which was an exclusively bibliographic research, seeks to show how the category of subject is illuminated and modified according to the conceptual constellation used in each model. Thus, it is stated that the category of subject is possible to understand in different ways when the negative dialectic shows what was hidden under the veil of identity. The cut made covers the apex of the development of this author, his works of maturity: Negative Dialectics and Aesthetic Theory. The first work draws on the dialectical models that disintegrate the traditional concepts of ontology, freedom, natural history and metaphysics. From the second, the aesthetic model of Adorno is extracted, which disintegrates and reconfigures the traditional categories of art theory. The presentation seeks to show the interpenetration of the different models.