Auswahl der wissenschaftlichen Literatur zum Thema „Theodor Wiesengrund (1903-1969 ; philosophe)“
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Zeitschriftenartikel zum Thema "Theodor Wiesengrund (1903-1969 ; philosophe)"
Sunarto, Sunarto. „NEGATIVITAS TOTAL: KRITIK ADORNO TERHADAP RASIONALITAS DAN SENI MASYARAKAT MODERN“. Pelataran Seni 1, Nr. 2 (17.09.2016): 137. http://dx.doi.org/10.20527/jps.v1i2.1883.
Der volle Inhalt der QuellePassos, Rodrigo Duarte Fernandes dos. „Os meios de comunicação como instrumento de poder: Theodor Ludwig Wiesengrund Adorno (1903-1969) e a Indústria Cultural“. Cadernos do PET Filosofia 2, Nr. 3 (27.07.2011): 35–43. http://dx.doi.org/10.26694/cadpetfil.v2i3.607.
Der volle Inhalt der QuelleBrito, Maria Dos Remédios de, und Simone Hedwing Hasse. „NOTAS SOBRE A EDUCAÇÃO A PARTIR DE NIETZSCHE E ADORNO“. Revista Margens Interdisciplinar 1, Nr. 2 (22.05.2016): 155. http://dx.doi.org/10.18542/rmi.v1i2.2892.
Der volle Inhalt der QuelleDissertationen zum Thema "Theodor Wiesengrund (1903-1969 ; philosophe)"
Ryan, Marie-Noëlle. „Penser l'art depuis les avant-gardes : problèmes de l'esthétique contemporaine après Adorno“. Paris 1, 1994. http://www.theses.fr/1994PA010620.
Der volle Inhalt der QuelleThe objet of this thesis is to discuss recent developments in contemporary aesthetics, while taking account of the theoretical consequences of the avant-gardes and their claims, with special attention to the cognitive function of art. These claims, and the extreme diversity of artistic production requires a profound reassessment of the traditional categories of aesthetics. I propose a critique of the theses of a number of theoreticians (burger, danto, bubner, lyotard) in order to throw light on adorno's aesthetics, which appear to offer certain theoretical advantages in spite of their limitations, brought to light by recent analyses of his work, limitations that fail to account fully for the diversity and legitimacy of artistic endeavour. Nevertheless, i attempt to defend the idea of an "immanent reading" based on an analysis of the formal articulation of works of art and their theoretical implications, for which adorno's concept of material is particularly apt. This concept appears to constitute an essential element in an aesthetic that claims to adequately think and come to terms with the consequences of modernity for artistic production and reception
Jurado, Thamara Moretti Soria. „Música e negatividade“. Universidade Federal de São Carlos, 2007. https://repositorio.ufscar.br/handle/ufscar/4880.
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This dissertation intends to investigate Adorno s analysis concerning Beethoven s late style in the attempt of understanding the importance delegated to this composer s works, which led Adorno to identify it with the beginning of a process that would culminate in Schoenberg. For doing that, we will use these comprised fragments in Beethoven s work: the philosophy of music, in special The Style I and II .
A presente dissertação procura investigar as análises de Adorno acerca do estilo tardio de Beethoven na tentativa de compreender a importância delegada às obras deste compositor que levaram Adorno a identificá-lo com o início de um processo que culminaria em Schoenberg. Para tanto, utilizaremos os fragmentos compreendidos na obra Beethoven: the philosophy of music, em especial The Style I e II .
Zurletti, Sara. „Le concept de matériau musical chez Th. W. Adorno“. Paris 8, 2002. http://www.theses.fr/2002PA082105.
Der volle Inhalt der QuelleOliveira, Lopes Luis Sergio de. „Causalité et liberté : implications juridiques de l'esthétique d'Adorno“. Paris, EHESS, 2008. http://www.theses.fr/2008EHES0126.
Der volle Inhalt der QuelleGenel, Katia. „Autorité et critique : l'approche interdisciplinaire de l'autorité dans la première École de Francfort“. Rennes 1, 2010. http://www.theses.fr/2010REN1PH05.
Der volle Inhalt der QuelleAuthority is not only a recurrent matter for thought in Horkheimer’s work in the 1930s and 40s, but also an important issue addressed by the collective empirical studies carried out by the Institute of Social Research. Our research sets out to reconstruct the critique of authority from Horkheimer’s diagnosis and the various analyses of Frankfurt School thinkers (Adorno, Fromm, Marcuse, Pollock and Benjamin, but also Neumann and Kirchheimer). Forming a junction with political philosophy, sociology and psychoanalysis, the critique of authority opens up an original perspective on domination: in a way, it represents the continuation of the political critique of domination via the social sciences. At an epistemological level, it also enables the interdisciplinary research programme developed by Horkheimer in 1930 to be tried and tested. Based on the observation that authority increasingly becomes an adaptation to social and economic facts, Horkheimer formulates a diagnosis of the individual in the social conditions of fascism and mass culture. In order to develop the potential array of this critique of authority, we need to compensate for the lack of connection of the analyses and enhance the prevalent socio-psychological and cultural approach to authority with a more political one that takes into account the paths outlined by Frankfurt School thinkers but which were not followed up. This approach makes it possible to break with the caricatural depiction of domination that is generally attributed to the Frankfurt School
Nait, Ahmed Salima. „Le féminin dans les écrits de Theodor W. Adorno : une critique de l'aliénation à l'épreuve du genre“. Thesis, Amiens, 2021. http://www.theses.fr/2021AMIE0056.
Der volle Inhalt der QuelleStarting from the assumption that Theodor W. Adorno's work is still relevant, this thesis proposes a feminist updating of his critique of alienation. In the first part, gender issues at the Institut für Sozialforschung (IfS) are explored in order to shed light on the following paradox: while these issues gave rise to flourishing research at the beginning of the Institute's history, they underwent a surprising eclipse, precisely from the time of Adorno's official integration into the Institut für Sozialforschung in 1938, and even if his reflection on gender-related alienation seemed to be the most radically critical. The evolution of the treatment of gender issues from the legacy of the last Marx to Adorno through the important phase of Erich Fromm's transition to the Institute is examined. A second part of the work is then devoted to the critical interpretation of the figures of femininity in Adorno's work. The thread of Adorno's dialectic between history and nature [Naturgeschichte] allows us to overcome their appearance of totally alienated figures, even against Adorno's first intention, to consider them in their historicity, going beyond, in a materialist way, the binary alternative between essentialism and constructivism, without concluding to a femininity which would be "already there". Finally, we show that the feminist potential of Adornian thought is to be found in the least explicitly feminist corpus. The Negative Dialectic (1966) can thus offer the conceptual resources of an anti-capitalist and feminist thought of alienation, which is capable of operating a synthesis between the new theories of alienation and the properly feminist critique of alienation and reification
Desplat-Roger, Joana. „Le jazz comme résistance à la philosophie“. Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100066.
Der volle Inhalt der QuelleThis doctoral thesis proposes to consider the place of jazz in philosophy. Our reflection starts from the following observation: jazz, which appears to be a major aesthetic phenomenon of the 20th century, has nevertheless been “neglected” by contemporary philosophy. This disenchantment of philosophy with jazz can be measured on two levels: on the one hand, the scarcity of philosophical writings devoted to it, and on the other hand, the harsh treatment that has generally been reserved for it. How are we to understand this “philo-phonic” silence on jazz? Why have contemporary philosophers in the jazz century never really been interested in its aesthetic dimension? And why didn’t they pay more attention to its political claims – even though these were hotly debated in the 1960s and 1970s?This research does not seek to lay the conceptual groundwork for a philosophy of jazz, but rather to come to a philosophical understanding of the “missed rendezvous” between jazz and philosophy. For philosophy, through jazz, seems to have to confront what resists it; therefore it is philosophical failure as such that is called into question by the case of jazz
Carvalho, Frederico Lyra De. „Improvisation, jazz et dialectique negative“. Electronic Thesis or Diss., Université de Lille (2018-2021), 2021. http://www.theses.fr/2021LILUH030.
Der volle Inhalt der QuelleThis thesis proposes a philosophical interpretation of musical improvisation, particularly jazz improvisation, through the Negative Dialectic as it was conceived by Theodor W. Adorno. The main hypothesis developed in this work is that it is possible to think philosophically about improvisation through a philosopher who touched on the subject but did not develop it. We want to show that one way to continue to think from Adorno is to engage with his demand for openness to objects outside the corpus he treated himself. Our engagement with the Negative Dialectic is notably through its capacity to push objects to extremes, pointing at the same time towards their disintegration and towards their utopian character. As we will try to show throughout this work, the idea of looking at improvisation stems from an awareness of the social time that emerged at the end of the Second World War and the brief intuitions that Adorno had at the time concerning the re-emergence of this practice.The thesis consists of three parts in addition to a foreword. The first part is divided into two chapters. The first chapter consists of an exposition of our interpretation of the Negative Dialectic, insisting on its double opening: both to objects and to incompleteness. The next chapter proposes a description of some aspects of improvisation based on an exploration of Adornian notions such as the informal, the logic of disintegration, the model and the constellation. The second part is subdivided into three chapters in which we discuss the problematic of improvisation with regard to three key notions in Adorno's thought: time, form and freedom. For each chapter, the objective will be to discuss both the contributions and limitations of Adorno's thought concerning each of the notions for thinking about improvisation. Finally, for the last part of the thesis, we propose a reading of the history of jazz in the form of an Adorno inspired philosophy of history. We will try to show that improvisation can be considered as the motor that gives impetus to a process of immanent development of jazz that starts with a modernist and radical moment in 1945 with Charlie Parker, and stops at multiple dead ends around 1975. The Adornian philosophical approach helps us to show that this process was not simply a successive change of musical figures but was constituted as a constellation of these figures. Throughout this work, in addition to the Adornian corpus, we discuss the specific philosophical and musicological corpus of jazz and improvisation, as well as the writings of musicians, notably Steve Coleman and Steve Lacy
Buhlmann, Pierre. „La liberté de soi : enquête croisée sur l'attitude critique chez Adorno et Foucault“. Thesis, Toulouse 2, 2020. http://www.theses.fr/2020TOU20009.
Der volle Inhalt der QuelleOur doctoral research undertakes a problematization of the way in which the moral constitution of the self is conceivable today. The universal demand formulated by the Kantian categorical imperative has never ceased to be valid. But history has shown that it is now necessary to reflect this moral requirement against itself. This is why the present work seeks to understand the possibilities available to any subject to constitute himself as a self capable of moral action. In an attempt to reflect on the question of moral action, we cross the negative critical thinking of Theodor W. Adorno with the genealogical analyzes of Michel Foucault. Our project aims to understand Adorno's moral reflections in the light of the practices in which Foucauldian thought allows them to be immersed, as well as to identify the philosophical-moral implications which underlie Foucault's last works, and which do not become apparent only in light of Adornian analyzes
Tackels, Bruno. „Histoire d'aura. Benjamin, brecht, adorno, heidegger“. Université Marc Bloch (Strasbourg) (1971-2008), 1994. http://www.theses.fr/1994STR20043.
Der volle Inhalt der QuelleBücher zum Thema "Theodor Wiesengrund (1903-1969 ; philosophe)"
Witkin, Robert W. Adorno on music. London: Routledge, 1998.
Den vollen Inhalt der Quelle findenGeml, Gabriele, und Han-Gyeol Lie. "Durchaus rhapsodisch". Theodor Wiesengrund Adorno: Das kompositorische Werk. J.B. Metzler, 2017.
Den vollen Inhalt der Quelle findenWitkin, Robert W. Adorno on Music. Taylor & Francis Group, 2013.
Den vollen Inhalt der Quelle findenWitkin, Robert W. Adorno on Music. Routledge, 2013.
Den vollen Inhalt der Quelle findenWitkin, Robert W. Adorno on Music. Taylor & Francis Group, 2013.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Theodor Wiesengrund (1903-1969 ; philosophe)"
„ADORNO, THEODOR WIESENGRUND (1903–1969)“. In Cultural Theory: The Key Thinkers, 1–3. Routledge, 2005. http://dx.doi.org/10.4324/9780203996423-1.
Der volle Inhalt der QuelleOliveira, Leda Belitardo de, Fabiana Garcia Montouro Nascimento, Adriana de Oliveira und Adriana Renata Nogueira Mourão Mamede Mamede. „REFLEXÃO DOS FUNDAMENTOS FILOSÓFICOS PARA A EDUCAÇÃO E PARA A EDUCAÇÃO AMBIENTAL NA PERSPECTIVA DA TEORIA CRÍTICA“. In Gestão Ambiental e Biodiversidade: tópicos atuais em pesquisa - Volume 2, 152–68. Editora Científica Digital, 2023. http://dx.doi.org/10.37885/230914376.
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