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Bank, Volker, and Annekathrin Lehmann. "Theodor Franke." Universitätsbibliothek Chemnitz, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-126414.
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Theodor Franke war nach derzeitiger Quellenlage der erste, der die Bezeichnung ‚Wirtschaftspädagogik‘ geprägt hat. Diese Sigle verband er dazumal mit weitreichenden begrifflichen Vorstellungen: Wirtschaftspädagogik stellte er sich als eine Wissenschaft vor, die systematisch die Wechselbeziehungen von Wirtschaft und Erziehung untersucht. Zugleich war die von ihm vorgeschlagene Wissenschaft keine bloß beruflich-kaufmännische ökonomische Bildung und keine rein allgemeinbildende ökonomische ‚Lehre von …‘, sondern ein Prinzip, das allen Unterricht, vom Anfang der Volksschule bis zum Ende der Fortbildungsschule, mit Blick auf die angestrebte Fachlichkeit durchziehen sollte. Er ist an den bis heute weitgehend fortbestehenden Schismen zwischen allgemeiner und beruflicher Bildung, zwischen kaufmännischer und gewerblicher Bildung, ja selbst noch im Schisma zwischen Berufs- und Wirtschaftspädagogik im heutigen Begriff als gescheitert zu betrachten: Weder vermochte er die Wirtschaftspädagogik in seinem Sinne als Disziplin noch überhaupt als Unterrichtsprinzip, das ihm vorschwebte, durchzusetzen. Hat sich an der Rezeption der Frankeschen Schriften bis heute nicht viel geändert, sollen in diesem Beitrag wenigstens seine Ideen referiert und aus heutigem Kontext heraus auf ihre aktuelle Bedeutung hin untersucht werden.
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Жукова, Світлана Вячеславівна, Светлана Вячеславовна Жукова, Svitlana Viacheslavivna Zhukova, and Ahmed Heblo. "Theodor Schwann." Thesis, Видавництво СумДУ, 2010. http://essuir.sumdu.edu.ua/handle/123456789/6659.
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Frank, Philipp. "Theodor Fontane und die Technik." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2704014&prov=M&dok_var=1&dok_ext=htm.
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Pichlmaier, Benno R. [Verfasser], Karl Theodor [Akademischer Betreuer] Renius, and Karsten [Akademischer Betreuer] Stahl. "Traktionsmanagement für Traktoren / Benno Pichlmaier. Gutachter: Karl Theodor Renius ; Karsten Stahl. Betreuer: Karl Theodor Renius." München : Universitätsbibliothek der TU München, 2012. http://d-nb.info/1031075836/34.
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Neuhaus, Stefan. "Freiheit, Ungleichheit, Selbstsucht ? : Fontane und Grossbritannien /." Frankfurt am Main : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb39012789t.
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Stefani, Regine. "Der Bildhauer Theodor Georgii 1883 - 1963." Diss., Ludwig-Maximilians-Universität München, 2011. http://nbn-resolving.de/urn:nbn:de:bvb:19-163627.
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Socha, Eduardo. "Tempo musical em Theodor W. Adorno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12012016-125616/.
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A partir da constatação dos diversos modos de formalização da experiência temporal na música do século 20, pretende-se analisar a consolidação do conceito de tempo musical no pensamento de Theodor W. Adorno. O escopo adotado será sua crítica ao serialismo pós- Webern, vinculada ao debate com os compositores da Escola de Darmstadt nas décadas de 1950 e 60, e sobre a qual operam seus conceitos de material e música informal. Um duplo propósito orienta a tese. Primeiramente, trata-se de esclarecer os referenciais do conceito de tempo que Adorno mobiliza em seus escritos musicais, tomando por base a reciprocidade entre categorias filosóficas e musicais que o filósofo sempre sustentou em seu percurso intelectual. História da filosofia e história da música constituem, para Adorno, campos para uma crítica convergente à progressiva espacialização e destemporalização do tempo. Nesse sentido, os Beethoven-Fragmente contribuem para uma primeira elucidação do conceito materialista. Já os ensaios sobre Stravinsky e sobre as relações entre música e pintura demonstram o potencial crítico e especulativo do conceito. Em um segundo momento, a tese procura descrever, em contraponto ao pensamento adorniano, as abordagens teóricas propostas por Pierre Boulez e Karlheinz Stockhausen sobre o problemática do tempo musical, com as quais Adorno teve contato. Identificamos, então, no encaminhamento programático de uma música informal o ponto culminante da crítica de Adorno às orientações teóricas e práticas da vanguarda serialista no pós-guerra. Notamos que sua intensa participação nos cursos de Darmstadt entre 1952 e 1966 (onde atuou como professor, crítico, conferencista e organizador de debates) esteve fortemente alinhada à sua produção ensaística e monográfica voltada à música no mesmo período. Nesse sentido, acreditamos que a confrontação com os compositores de Darmstadt viabilizou uma ocasião decisiva para que o filósofo expusesse criticamente e colocasse à prova os critérios de seu conceito de tempo musical.This dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.
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Lysá, Monika. "Theodor Phoenix, 49 cm/3000 g." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232370.
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The practical part of the thesis is an intimate and inner parent album, which is based on illustration of spoken word. It replaces the ordinary photo album, which is for a long time a social necessity of every young mother. During interviews with close friends of the author were created drawings that captures photographically „uncapturable“. They expressively displays completely new experience, which the mother has to go through for the very first time - mood swings, strange tastes, childbirth, but also the moment of conception. Work replaces the mentioned photo album and was formed as a family heirloom. Therefore, considerable attention has been paid to the external processing of the album.
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Kischel, Anja. "Soziale Mobilität in Theodor Fontanes Gesellschaftsromanen." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/996244794/04.
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Baule, Bernward. "Kulturerkenntnis und Kulturbewertung bei Theodor Lessing /." Hildesheim : A. Lax, 1992. http://catalogue.bnf.fr/ark:/12148/cb356293475.
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Steur, Claudia. "Theodor Dannecker : ein Funktionär der "Endlösung /." Essen : Klartext, 1997. http://catalogue.bnf.fr/ark:/12148/cb36990147j.
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Redmond, Dennis Robert. "Global storm : Theodor Adorno's Negative dialectics /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978596.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 377-380). Also available for download via the World Wide Web; free to University of Oregon users.
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Krings, Dorothee. "Theodor Fontane als Journalist Selbstverständnis und Werk /." Köln : von Halem, 2008. http://catalog.hathitrust.org/api/volumes/oclc/301979020.html.
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Zimmermann, Peter. "Theodor Haubach (1896 - 1945) : eine politische Biographie /." [S.l. : s.n.], 2002. http://www.gbv.de/dms/sub-hamburg/358127300.pdf.
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Thome, Felix Theodorus. "Studien zum Johanneskommentar des Theodor von Mopsuestia." Bonn Borengässer, 2006. http://d-nb.info/989072843/04.
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Reck, Alexander Vischer Friedrich Theodor. "Friedrich Theodor Vischer - Parodien auf Goethes "Faust" /." Heidelberg : Winter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2966523&prov=M&dok_var=1&dok_ext=htm.
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Granqvist, Raoul J. "Brev till min dotter : Theodor Kallifatides' palimpsest." Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-68443.
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This essay is a critical review of the Swedish writer, Theodore Kallifatides' novel Brev till min dotter (2012) ('Letters to My Daughter'). It is formatted, thematically and inspirationally, by Ovid's two works Tristia and Epistulae ex Ponto, written while in exile in Tomis (today's Constanța) on the Black Sea. I have organized Kallifatides' fictive narrative of his pre-Junta (1964) emigration from Greece (where he was born), his multilevelled refashioning of the source material, into a palimpsest that contains three rhetoric layers: the epistle, the autobiography, and the pamphlet. The first depicts the slow transition of 'Ovid', the presumptive Roman imperialist and colonialist, into the less self-centered icon of the Ars Amatoria fame and the more accommadating listener to the people around him. In the second, I show how 'Ovid' is merging into the persona of Kallifatides, a migrant who voluptuously absorbs his new language (Swedish). A language that he masters with the innovatory skill of the best postcolonial writer. The third constitutes a universal praise song of freedom of speech and gender equality. Ovid, in Kallifatides portrait, is feminized.
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Piddocke, Melanie Anne. "Theodor Lotz : a biographical and organological study." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7707.
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This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments.
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Bacht, Nikolaus. "Music and time in Theodor W. Adorno." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/music-and-time-in-theodor-w-adorno(8275f334-adec-45dc-a49d-972e38b69fdf).html.
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Silva, Pedro RogÃrio Sousa da. "Fetichismo, ideologia e educaÃÃo em Theodor Adorn." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17346.
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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoCoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior
Investigam-se os conceitos de fetichismo, ideologia e EducaÃÃo em Adorno. Para tanto, este escrito à apoiado na pesquisa teÃrica e bibliogrÃfica, mais especificamente, em torno da obra e das diversas categorias filosÃficas, sociolÃgicas e educacionais do Pensador supracitado, como tambÃm de seus interlocutores e comentadores. Delineiam-se, por essa via, o surgimento e a difusÃo do conceito de fetichismo por diversos autores, tais como Charles de Brosses, Marx, Freud e Adorno, entre outros. EsboÃa-se, em seguida, o ponto de interseÃÃo de Marx com Adorno acerca do fetichismo. Discutem-se, com efeito, o fetichismo na mÃsica erudita e o dualismo entre dois compositores â Schoenberg e Stravinsky â bem como o elemento musical e suas correlaÃÃes com o Fetichismo da Mercadoria Cultural em Adorno, mostrando que a investigaÃÃo acerca da mÃsica constitui um problema importante, que implica a contradiÃÃo para o pensamento adorniano. Pesquisa-se, ademais, o conceito de belo, mostrando, de modo sintÃtico, sua propagaÃÃo no curso da HistÃria da Filosofia, bem como a estÃtica contemporÃnea em Adorno, delineando algumas correntes artÃsticas, seus impactos e propÃsitos. Aponta-se outra apropriaÃÃo de Adorno feita em relaÃÃo ao escritor de O Capital, qual seja, o conceito de ideologia, porÃm, feita de modo divergente, e distinta, comparativamente à compreensÃo de Marx. Analisa-se, alÃm disso, o elo entre Adorno e Benjamin, isto Ã, as convergÃncias e as divergÃncias dos filÃsofos alemÃes a respeito de algumas conceituaÃÃes. Averigua-se, prontamente, o tormento de Auschwitz, mostrando sua origem, consequÃncias sociais e educacionais. Discute-se, outrossim, de que modo a EducaÃÃo pode evitar para que Auschwitz nÃo se repita. Examina-se, a posteriori, a crÃtica feita por Adorno à EducaÃÃo portadora de um carÃter instrumental, tÃcnico e quantitativo. De modo contrÃrio, com base em Adorno, pensa-se uma educaÃÃo nÃo idÃntica à lÃgica vigente, recuperando o aspecto da autonomia e da emancipaÃÃo humana. Reporta-se, por fim, ao conflito entre dois conceitos, no Ãmbito educacional â formaÃÃo e semiformaÃÃo.
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Junior, Maurilio Machado Lima. "Ensaísmo e filosofia em Theodor W. Adorno." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3855.
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O estudo aborda o problema da forma de exposição do pensamento filosófico a partir da defesa da forma do ensaio na obra de Theodor W. Adorno. O que se põe em questão é o quanto a forma ensaística, em seu esforço de elaborar conceitualmente os dados da experiência particular, é capaz de dar conta da atividade filosófica - uma atividade universalista e interessada na determinação dos fundamentos últimos do real - em um momento histórico no qual não parece ser mais possível a ela erguer pretensões de sistema. Em seu desenvolvimento este trabalho se volta para a própria ensaística adorniana e procura mostrar se e em que medida ela escapa do espírito próprio dos sistemas fechados.The work addresses the problem of exposition in the philosophical thought based on the defense of the essay form in the philosophy of Theodor W. Adorno. What is interrogated is how much the essay form, in its effort to develop conceptually the particular experience, is able to carry out the philosophical activity - a universalistic activity e interested in depict the ultimate foundations of the real - in a historical moment in which is it no more possible to raise any pretense of systematic philosophy. In its development this study turns to Adorno's own essays and attempts to show if the exposition form of his thought escapes from the especific spirit of closed systems.
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Corcuera, Gabriel. "Theodor Adorno: Minima moralia. Una mínima aproximación." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/119233.
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Ehrhardt, Holger. "Mythologische Subtexte in Theodor Fontanes Effi Briest." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/98655703X/04.
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Claudino, Maciel Louise. "Arte e emancipação em Theodor W. Adorno." Universidade Federal de Pernambuco, 2011. https://repositorio.ufpe.br/handle/123456789/9554.
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Previous issue date: 2011Conselho Nacional de Desenvolvimento Científico e Tecnológico
Este trabalho analisou o lugar da obra de arte no pensamento sobre a emancipação de Theodor W. Adorno. Nosso objetivo foi apontar os elementos emancipatórios que Adorno identificou na obra de arte. Para tanto, buscamos entender como a obra de arte oferece resistência a dois processos que, neste autor, se apresentam como fortes empecilhos à configuração de uma sociedade emancipada. Em primeiro lugar, temos o fracasso da promessa de emancipação do esclarecimento, entendido como o amplo processo em que a razão suplantará o mito, mostrando-se como a maneira mais eficiente para libertar os homens do medo e garantir sua autoconservação. Tendo a autoconservação como objetivo, a razão (instrumental) promoverá um progressivo distanciamento do homem em relação à natureza (interna e externa), reduzindo-a a condição de objeto de manipulação e domínio. Tendo em vista que a promessa deste processo é a emancipação humana, Adorno questiona como a sociedade esclarecida pôde ser palco de acontecimentos tão bárbaros como o Holocausto: assassinato sistemático dos judeus e de outras minorias sociais. Além disso, o fracasso desta promessa é visível na medida em que, o esclarecimento, ao invés de levar a uma sociedade emancipada, conduziu a uma sociedade administrada. Tal sociedade consiste no segundo forte empecilho à emancipação, uma vez que se caracteriza pela paralização da crítica em diversos âmbitos da sociedade. É o que Adorno observa em relação à indústria cultural. Com ela, a cultura, que outrora servia como espaço de transcendência e de crítica das condições dadas, se vê reduzida à glorificação do existente. Como a indústria cultural transforma as obras de arte em mercadorias integrais, uma primeira condição de potencial emancipatório na arte é a sua autonomia. A autonomia da arte pode ser considerada um elemento emancipador, uma vez que oferece resistência à razão instrumental que busca atribuir a tudo uma função na autoconservação da sociedade. Por sua vez, algumas obras de arte autônomas apresentam um outro elemento emancipador que é o da permanência da crítica na sociedade administrada. Tais obras, além de autônomas, são autênticas, porque se recusam a reconciliar as contradições que surgem em seu interior dando testemunho do estado não reconciliado da sociedade, ao mesmo tempo em que expressam a condição de sofrimento do indivíduo no capitalismo tardio. Por fim, no que diz respeito à relação do artista com o material artístico, temos um terceiro elemento emancipador que caracteriza as obras de arte autênticas: elas fornecem uma modalidade de relação entre sujeito e objeto alternativa àquela em que o sujeito domina o objeto, presente no esclarecimento. Na esfera da obra de arte autêntica, sujeito (artista) e objeto (material) entram numa relação de mediação recíproca. Neste aspecto, obras de arte autênticas estão no centro do pensamento da emancipação de Adorno por prefigurar a reconciliação com a natureza que ele viu como condição da verdadeira emancipação humana
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Reis, Maurício de Assis. "Experiência e pensamento em Theodor W. Adorno." reponame:Repositório Institucional da UFOP, 2014. http://www.repositorio.ufop.br/handle/123456789/3617.
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Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto.Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2014-08-06T18:42:04Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ExperiênciaPensamentoTheodor.pdf: 1086108 bytes, checksum: e30ca3a83b43ef3aa4eac4957822a303 (MD5)
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O presente trabalho procura desenvolver as teses adornianas relativas à relação entre experiência e pensamento em três escritos da fase das décadas de 30 e 40 do pensamento do filósofo frankfurtiano Theodor W. Adorno, a saber: Ideia de História Natural, Dialética do Esclarecimento – esta em companhia de Max Horkheimer – e Minima Moralia. Trata-se de investigar nestas teses a relação que se encontra na base dos processos de formação e, em última instância, de administração da sociedade. Parte-se da hipótese de que o processo que leva o homem da experiência do mito à cultura e técnica atuais, arrasta consigo outro processo, a saber, que o progresso que aí é vislumbrado é também regressão: o empobrecimento da experiência e do pensamento. Para apresentar tal hipótese, o trabalho se divide em três etapas distintas. Em primeiro lugar, trata-se de desdobrar as faces natural e histórica do processo, uma estrutura que descortina os determinantes da experiência e do pensamento distintos que tendem, por sua vez, a justificar seja a regressão ou o empobrecimento culturais, seja o progresso humano através do aperfeiçoamento das técnicas à disposição. Em seguida, passando por leituras provenientes da antropologia (Marcel Mauss) e da sociologia (Émile Durkheim), procura-se evidenciar, através de uma leitura históricofilosófica, o processo de depauperamento do sujeito em vista da autoconservação, extraindo dele suas potencialidades subjetivas que nele interditam o caminho a um conhecimento mais objetivo. O processo dialético entre a restrição do indivíduo em suas potencialidades e o empobrecimento histórico da experiência e do pensamento conduz ao enclausuramento do sujeito dentro do mundo administrado, incapaz que se torna de pensar um mundo diferente deste. Ao final, a dissertação procura demonstrar a danificação da vida vivida como resultado de todo o processo em três vias: em primeiro lugar, o grau de alienação atingido nos mais recônditos espaços da vida através dos aforismos de Minima Moralia; segundo, a exploração econômico-cultural através dos mecanismos de entretenimento da indústria cultural; terceiro e último, o cenário político, a práxis alienada de toda teoria, a experiência separada do pensamento e seus resultados funestos para a sociedade na forma dos elementos de antissemitismo. __________________________________________________________________________________________
ABSTRACT: This work develops the adornian theses relating to the connection between experience and thought in three writings of the frankfurtian philosopher Theodor W. Adorno of 30 and 40 decades, namely: The Idea of Natural-history, Dialectic of Enlightenment – this at Max Horkheimer’s company – and Minima Moralia. It’s about to investigate in theses the connection that is at the basis of the processes of society’s formation and, ultimately, of administration. This work starts from the hypothesis that the process that leads man from the myth experience to the current culture and technique, drags another process, namely, that there is progress is also glimpsed regression: the impoverishment of experience and thought. To show such hypothesis, the work divides into three different stages. First of all, it’s about to unfold the natural and historical faces of the process, a structure that unveils the different experience and thought determinants that tends to, on the other hand, to justify, whether the cultural regression or the impoverishment, whether the human progress through of improvement of the available techniques. Next, passing by readings from anthropology (Marcel Mauss) and sociology (Émile Durkheim), this work tries to show, through a historical-philosophical reading, the impoverishment process of the subject in view of selfpreservation, extracting from it the subjective potentialities that close the way to a more objective knowledge. The dialectical process between the individual’s restriction on its potentialities and the historical impoverishment of the experience and thought leads to subject’s enclosure inside of the administrated world, incapable of thinking a different world from this. At the end, this paper tries to demonstrate the damaged of lived life as a result of all the process at three ways: first, the level of alienation achieved in the more remote places of life through of Minima Moralia’s aphorisms; second, the economic and cultural exploration through the cultural industry’s entertainment mechanisms; third and last, the political setting, the alienated praxis of all the theory, the experience separated from the thought and its fatal results for the society in the anti-Semitism elements form.
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SILVA, Pedro Rogério Sousa da. "Fetichismo, ideologia e educação em Theodor Adorn." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/18927.
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SILVA, Pedro Rogério Sousa da. Fetichismo, ideologia e educação em Theodor Adorn. 2016. 150f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-04T14:53:43Z No. of bitstreams: 1 2016_tese_prssilva.pdf: 838853 bytes, checksum: 9ee29441a72d1b385ea6953923aaa06f (MD5)
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This paper investigated the concepts of fetishism, ideology and education in Adorno. For so, it is made a support in the theoretical and bibliographical literature and more specifically around the work and the different philosophical, sociological and educational categories of the above mentioned thinker, as well as his interlocutors and commentators. It is outlined, this way, the emergence and spread of the concept of fetishism by several authors such as Charles de Brosses, Marx, Freud and Adorno, among others. It is sketched, then Marx's point of intersection with Adorno about fetishism. It is argued, as well, fetishism in classical music and the dualism between two composers - Schoenberg and Stravinsky - as well as the musical element and their correlation with the Fetishism of Cultural Goods in Adorno, showing that the investigation of the music is a major problem which means contradiction to the Adornian thought. It is researched, moreover, the concept of beauty, showing, in a summary form, its spread in the course of the history of philosophy as well as contemporary aesthetic in Adorno, outlining some artistic currents, their impacts and purposes. We point out another appropriation of Adorno`s made against the author of Capital, namely, the concept of ideology, however, made in a divergent, and distinct way compared to the understanding of Marx. Besides that, it is analyzed the link between Adorno and Benjamin, that means, the convergences and divergences of the German philosophers about some concepts. They ascertain promptly the torment of Auschwitz, showing their origin, social and educational consequences. It is argued, moreover, how education can prevent in order to avoid that the case of Auschwitz is not repeated. It is examined, afterthought, the criticism made by Adorno to an instrumental, technical and quantitative education. Conversely, based on Adorno, it is thought to be a non-identical education at the prevailing logic, recovering the aspect of autonomy and human emancipation. They talk, finally, about the conflict between two concepts in the educational context, namely, training and semi training.
Investigam-se os conceitos de fetichismo, ideologia e Educação em Adorno. Para tanto, este escrito é apoiado na pesquisa teórica e bibliográfica, mais especificamente, em torno da obra e das diversas categorias filosóficas, sociológicas e educacionais do Pensador supracitado, como também de seus interlocutores e comentadores. Delineiam-se, por essa via, o surgimento e a difusão do conceito de fetichismo por diversos autores, tais como Charles de Brosses, Marx, Freud e Adorno, entre outros. Esboça-se, em seguida, o ponto de interseção de Marx com Adorno acerca do fetichismo. Discutem-se, com efeito, o fetichismo na música erudita e o dualismo entre dois compositores – Schoenberg e Stravinsky – bem como o elemento musical e suas correlações com o Fetichismo da Mercadoria Cultural em Adorno, mostrando que a investigação acerca da música constitui um problema importante, que implica a contradição para o pensamento adorniano. Pesquisa-se, ademais, o conceito de belo, mostrando, de modo sintético, sua propagação no curso da História da Filosofia, bem como a estética contemporânea em Adorno, delineando algumas correntes artísticas, seus impactos e propósitos. Aponta-se outra apropriação de Adorno feita em relação ao escritor de O Capital, qual seja, o conceito de ideologia, porém, feita de modo divergente, e distinta, comparativamente à compreensão de Marx. Analisa-se, além disso, o elo entre Adorno e Benjamin, isto é, as convergências e as divergências dos filósofos alemães a respeito de algumas conceituações. Averigua-se, prontamente, o tormento de Auschwitz, mostrando sua origem, consequências sociais e educacionais. Discute-se, outrossim, de que modo a Educação pode evitar para que Auschwitz não se repita. Examina-se, a posteriori, a crítica feita por Adorno à Educação portadora de um caráter instrumental, técnico e quantitativo. De modo contrário, com base em Adorno, pensa-se uma educação não idêntica à lógica vigente, recuperando o aspecto da autonomia e da emancipação humana. Reporta-se, por fim, ao conflito entre dois conceitos, no âmbito educacional – formação e semiformação.
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Forssell, Louise. "Zur Körpersprache in Theodor Storms Novelle "Der Schimmelreiter" : "Er reichte ihr die Hand und drückte sie, als ob es zwischen ihnen keines weiteren Wortes bedürfe ..." /." Hamburg : Kovač, 2009. http://d-nb.info/992158737/04.
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Bernhardt, Birgitta [Verfasser], and Theodor [Akademischer Betreuer] Hänsch. "Dual Comb Spectroscopy / Birgitta Bernhardt. Betreuer: Theodor Hänsch." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2011. http://d-nb.info/1015500692/34.
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Carnaby, Rachel. "Kitsch in the prose works of Theodor Storm." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1803/.
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The twofold purpose of this study is to clarify, on the one hand, the question of literary evaluation in general and of kitsch in particular, and, on the other, to analyse the prose works of Theodor Storm in the light of the theories of literary evaluation thus established. It therefore follows that the investigation falls into two main sections. The first is in essence theoretical. It consists of seven chapters, in which are examined the terminology, etymology and history of literary evaluation; the many different approaches to tackling and understanding the problem of kitsch (pedagogic, socio—economic, political, religious, moral, philosophical etc.); kitsch in its relationship to art; kitsch in literature and elsewhere (kitsch of both style and philosophy); kitsch and the consumer, especially the female consumer; kitsch's causes and functions under a variety of political and social regimes and, lastly, the possible dangers of kitsch and the remedies suggested to help counteract it. The second section commences with a survey of prominent trends in Storm research old and new, followed by an exploration of Storm's awareness of and relationship to his reading public and to his publishers, and the effect on his work of the demands of family finances. Three chapters are devoted specifically to Storm's wide—ranging techniques for appealing to his reading public, and four to one of the most important aspects of his work in relation to kitsch, the women figures and love and marriage in the 'Novellen'. Three more are given over to problems in his works, with particular emphasis on the function of social critic now widely claimed for him. Two chapters deal with Storm's literary aims, both in respect of artistic achievement and popular acclaim, how far he was successful in achieving them, and what shortcomings threatened to diminish the literary value of his works. Finally, there is a chapter on Storm's reception under various regimes and how prevailing ideological factions adapted the works for their own use, whilst Storm's reception in the immediate post—war era and in the present day is the subject of the conclusion.
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Viana, Cynthia Maria Jorge. "A tessitura do ensaio em Theodor W. Adorno." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5076.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This PhD research, developed in the Postgraduate Program in Education, following the line of research Foundations of the Educational Processes and based in the Critical Theory of Society of the Frankfurt School, mainly in the contributions of the German philosopher Theodor W. Adorno, aimed at reflecting about the essay according to his text The Essay as Form (Der Essay als Form). This study took as an emblem the procedure of reason revealed by the essay, which, also as a procedure of reason and form of exposition, is constituted through mediations that allow to think about its epistemological potentialities as another procedure of reason. Thus, this dissertation researches such procedure in the constitutive mediations: the relations of subject and object, form and content and reason and experience. Such mediations dispense with essay and can very well be investigated by means of other objects. In the essay, they make it possible to denounce and criticize the domain of instrumental reason and the knowledge that is established as ideology. If the historical tradition of essay leads to Montaigne, with the publication, in 1580, of Essais – in which the object of the essay is the subject Montaigne, and the content of its form is the author’s own life –, with Adorno the essay is the synthesis of mediations, groping intention, stage of the intellectual experience that exposes contents that can only be exposed in this other procedure. In revealing itself through the fragment in a fragmented, unsystematic and discontinuous way, the essay is a negative praxis that makes possible the experience in the genuine contact with objects. The essay, by means of its procedure and exposition, guards the condition of possibility of the knowledge and different communication between a real subject and an object that is also real. Its form is content and its content is form and, in this sense, the essay does not give in to lighten that which obstructs experience. Definitely, the essay moves away from the line of action of the culture industry for not condoning with an accelerated and operational textual communication. It explicitly resists becoming a totalizing language. Thus, the essay is a protest against the domain of operational reason and science.
Esta pesquisa de doutoramento, desenvolvida no Programa de Pós-graduação em Educação, na linha de pesquisa Fundamentos dos processos educativos, com base na Teoria Crítica da Sociedade da Escola de Frankfurt, principalmente, nas contribuições do filósofo alemão Theodor W. Adorno, teve como objetivo refletir sobre o ensaio a partir de seu texto O ensaio como forma (Der Essay als Form). Tomou-se como emblema o procedimento de razão revelado pelo ensaio, que, também como um procedimento de razão e forma de exposição, constitui-se por meio de mediações que permitem pensar sua potencialidade epistemológica como um procedimento de razão outro. Investiga-se tal procedimento em três mediações constitutivas, as relações: sujeito-objeto, forma-conteúdo e razão-experiência. Tais mediações prescindem do ensaio e podem muito bem ser investigadas por intermédio de outros objetos. No ensaio, elas possibilitam realizar a denúncia e a crítica ao domínio da razão instrumental e ao conhecimento que se estabelece como ideologia. Se a tradição histórica do ensaio leva a Montaigne, com a publicação em 1580, de Essais – cujo objeto do ensaio é o sujeito Montaigne, e o conteúdo de sua forma, a própria vida desse autor –, com Adorno o ensaio é síntese de mediações, intenção tateante, palco da experiência intelectual que expõe conteúdos que só podem ser expressos nesse procedimento outro. Ao se revelar pelo fragmento de modo fragmentado, assistemático e descontínuo, o ensaio é práxis negativa que possibilita a experiência no contato genuíno com os objetos. O ensaio, por meio de seu procedimento e exposição, resguarda a condição de possibilidade do conhecimento e comunicação diferençada entre um sujeito real e um objeto também real. Sua forma é conteúdo e seu conteúdo é forma, e, nesse sentido, o ensaio não cede em desanuviar o que obstaculiza a experiência. Definitivamente, o ensaio se afasta do modo de proceder dos produtos da indústria cultural, por não compactuar com uma forma aligeirada e instrumentalizada de comunicação textual. Ele resiste explicitamente a se fazer como linguagem totalizante. Desse modo, o ensaio é protesto ao domínio da razão e da ciência instrumentalizadas.
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Lemos, Solon Sales. "DialÃtica Negativa: formaÃÃo e resistÃncia em Theodor Adorno." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10974.
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nÃo hÃO trabalho que ora desenvolvemos reflete sobre o processo de formaÃÃo em Theodor Adorno a partir da sua proposta de reformulaÃÃo do mÃtodo dialÃtico clÃssico transformando-o em uma DialÃtica Negativa Partindo do pressuposto de que jamais em momento algum da histÃria o homem pÃde contar com tantas realizaÃÃes tecnolÃgicas e cientÃficas e nunca se soube tanto sobre os astros celestes ou o domÃnio da natureza e que paralelo a todas essas realizaÃÃes nunca houve tanta misÃria em todas as suas dimensÃes violÃncia e exploraÃÃo do homem pelo homem refletir-se-à juntamente com Adorno sobre o verdadeiro papel da razÃo no presente contexto histÃrico se como instrumento a serviÃo do capitalismo tardio ou como finalidade do agir humano que busca libertar-se dos grilhÃes de uma âsociedade administradaâ Na esteira destas reflexÃes faz-se necessÃrio buscar o lugar que deve hoje ocupar a filosofia no entendimento real do que venha a ser o esclarecimento humano como meio para a formaÃÃo de indivÃduos autÃnomos O caminho percorrido pela ciÃncia nos trilhos da ârazÃo instrumentalizadaâ do capitalismo industrial tardio tem reduzido os homens a coisas de tal forma que a barbÃrie dos campos de concentraÃÃo nazista atesta o horror a que se destina uma sociedade semi-formada, uma vez que os mecanismos psicolÃgicos e economicamente estruturados que levaram a Aushiwitz nÃo ficaram para trÃs mas resistem hoje sobre outras formas de perseguiÃÃo e violÃncia como o racismo reificaÃÃo da classe operÃria e discriminaÃÃo de minorias etÃrias socioeconÃmicas e religiosas sà para citar algumas Na busca de superaÃÃo dessa condiÃÃo mecanizada e impessoal das sociedades capitalistas atuais Adorno apresenta como mÃtodo e contraponto a toda essa estrutura burguesa do capitalismo tardio sua DialÃtica Negativa na qual por meio de uma razÃo crÃtica se reformularà a trajetÃria da filosofia ocidental retomando o instante em que esta se perdeu em conceitos metafÃsicos e absolutizantes e que agora deve retomar seu curso enquanto conhecimento capaz de possibilitar ao homem a passagem de uma condiÃÃo heterÃnoma a uma condiÃÃo autÃnoma atravÃs da resistÃncia da nÃo-identificaÃÃo ao sistema capitalista tardio
The work we now have developed reflects on the process of education in Theodor Adorno from its proposed revision of the classic dialectic method transforming it into a Negative Dialectics Assuming that never at any time in history a man could tell so many achievements scientific and technological and never knew much about the heavenly bodies or the domain of nature and that parallel to these achievements has never been so much poverty in all its dimensions violence and exploitation of man by man will reflect along with Adorno on true role of reason in this historical context as an instrument in the service of late capitalism or the purpose of human action that seeks to free itself from the shackles of an " administered society " in the wake of these reflections it is necessary to seek the place it should occupy today philosophy on real understanding of what will be the human enlightenment as a means for the formation of autonomous individuals the path taken by science in the tracks of " instrumental reason " late industrial capitalism has reduced men to things such that the barbarity of Nazi concentration camps attest to the horror that is meant a society semi - formed , since the psychological mechanisms and economically structured that led to Aushiwitz not left behind but endures today on other forms of harassment and violence as racism reification class workers and discrimination against religious minorities and socioeconomic groups to name a few in seeking to overcome this condition mechanized and impersonal capitalist societies current method presents as Adorno and counterpoint to all this bourgeois structure of late capitalism in which his Negative Dialectics by reason critical if reshape the trajectory of Western philosophy resuming the moment this is lost on metaphysical concepts and absolutizantes and now must resume its course while knowledge to enable man to pass a condition heteronomous to an autonomous status through the resistance of non- -identification system late capitalist
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Kuemmerle, Andreas Harry. "Evangelisation bei Johann Hinrich Wichern und Theodor Christlieb." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Lindemann-Stark, Anke. "Leben und Lebensläufe des Theodor Gottlieb von Hippel /." St. Ingbert : Röhrig, 2001. http://catalogue.bnf.fr/ark:/12148/cb38844641w.
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Kolk, Rainer. "Beschädigte Individualität : Untersuchungen zu den Romanen Theodor Fontanes /." Heidelberg : C. Winter, 1986. http://catalogue.bnf.fr/ark:/12148/cb401908419.
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Börner, Mareike. "Mädchenknospe - Spiegelkindlein die Kindfrau im Werk Theodor Storms." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/994475659/04.
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Flego, Jules Laurence. "Theodor Mommsen: An Enduring Legacy of Rome's Past." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17141.
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Pompey’s representation suffers from a hostile modern historical tradition. Mommsen’s 'Römische Geschichte' selectively crafted a portrait of Pompey which was loosely based on the ancient source tradition that resulted in a devaluation of his political, military, and personal capacity. This interpretation originated from Mommsen’s nineteenth century Prussian context, wherein Romanticism, Historicism, Militarism, and the ‘Great men’ reading of history dictated historical discourse. Accordingly, Mommsen adapted and refined Niebuhr’s pro-Caesar reading of the late republic, which prioritised and celebrated Caesar’s legendary portrayal in his 'Commentaries'. These conclusions determined modern approaches to Pompey in the Germanic and Anglophone traditions, which perpetuated the misleading construct. This thesis investigates these issues by re-evaluating the ancient literary evidence for Pompey’s character and career. It then compares the characterisations of the ancient authors and Mommsen, thereby highlighting the ways in which his selective and determinist methods created an anti-Pompey construct. Following this, this thesis diachronically analyses how subsequent Anglophone scholarship, particularly in the popular genres of narrative history and biography, have adapted aspects of Mommsen’s Pompeian paradigm which perpetuated his negative reading. By outlining and addressing the methodological problems inherent within Mommsen’s scholarly legacy and interrogating the ancient evidence, this thesis demonstrates that the common view of Pompey is the product not of the nuanced and diverse ancient evidence but rather the product of the long term acceptance of a Mommsenian construct. This is symptomatic of a wider issue in late republic scholarship which, often inadvertently, reproduces these unverified assertions without consideration of their origins.
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Porges, Reingard. "Theodor Wolff, the Writer in Exile 1933-1943." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1515.
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Abstract This study examines the effect of exile on Theodor Wolff’s writings from 1933 to 1943. Wolff, a highly assimilated German Jew and renowned journalist and editor-in-chief of the ‘Berliner Tageblatt’ from 1906-1933, was one of the most influential cultural and liberal political commentators during World War I and the Weimar Republic. His political life and influence has been extensively researched, whereas his life in exile has not been explored. Enforced sudden exile in 1933 represented a turning point in Wolff’s life. Following the temporal sequence of Wolff’s ten years in exile, this study is divided into four chapters, starting with the early exile years from 1933 to 1936, followed by the immediate pre World War II period. The third chapter covers the German invasion and occupation of France in 1940. The last chapter sheds light on the two final years from 1942 to 1943. These four periods reflect his exile experience and gradual decline in living conditions, mood, and fundamental changes in his approach to writing. In exile Wolff devotes his time and effort to historical accounts and fiction – a difficult genre for a publicist and journalistic writer. He also embarks on autobiographical writings and during his final years in exile deals with the Jewish catastrophe unfolding in Nazi controlled Europe, raising issues concerning the so called ‘Jewish Problem’. This study draws attention to the effect exile had on an important German- Jewish writer, who in 1943 fell victim to the Holocaust. Wolff’s works, especially his exile writings survived the war and remain relevant today. The findings of this research provide some insight into a turbulent period in German and European history that drastically changed many lives. It also makes a significant contribution to the study of Theodor Wolff and to exile studies in general.
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Porges, Reingard. "Theodor Wolff, the Writer in Exile 1933-1943." University of Sydney, 2006. http://hdl.handle.net/2123/1515.
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Doctor of PhilosophyAbstract This study examines the effect of exile on Theodor Wolff’s writings from 1933 to 1943. Wolff, a highly assimilated German Jew and renowned journalist and editor-in-chief of the ‘Berliner Tageblatt’ from 1906-1933, was one of the most influential cultural and liberal political commentators during World War I and the Weimar Republic. His political life and influence has been extensively researched, whereas his life in exile has not been explored. Enforced sudden exile in 1933 represented a turning point in Wolff’s life. Following the temporal sequence of Wolff’s ten years in exile, this study is divided into four chapters, starting with the early exile years from 1933 to 1936, followed by the immediate pre World War II period. The third chapter covers the German invasion and occupation of France in 1940. The last chapter sheds light on the two final years from 1942 to 1943. These four periods reflect his exile experience and gradual decline in living conditions, mood, and fundamental changes in his approach to writing. In exile Wolff devotes his time and effort to historical accounts and fiction – a difficult genre for a publicist and journalistic writer. He also embarks on autobiographical writings and during his final years in exile deals with the Jewish catastrophe unfolding in Nazi controlled Europe, raising issues concerning the so called ‘Jewish Problem’. This study draws attention to the effect exile had on an important German- Jewish writer, who in 1943 fell victim to the Holocaust. Wolff’s works, especially his exile writings survived the war and remain relevant today. The findings of this research provide some insight into a turbulent period in German and European history that drastically changed many lives. It also makes a significant contribution to the study of Theodor Wolff and to exile studies in general.
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LEMOS, Solon Sales. "Dialética negativa: formação e resistência em Theodor Adorno." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/7527.
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LEMOS, Solon Sales. Dialética Negativa: formação e resistência em Theodor Adorno. 2013. 95f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-02-27T14:29:53Z No. of bitstreams: 1 2013-DIS-SSLEMOS.pdf: 476832 bytes, checksum: f68f6fc4fb17469b428844bd681bf695 (MD5)
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The work we now have developed reflects on the process of education in Theodor Adorno from its proposed revision of the classic dialectic method transforming it into a Negative Dialectics Assuming that never at any time in history a man could tell so many achievements scientific and technological and never knew much about the heavenly bodies or the domain of nature and that parallel to these achievements has never been so much poverty in all its dimensions violence and exploitation of man by man will reflect along with Adorno on true role of reason in this historical context as an instrument in the service of late capitalism or the purpose of human action that seeks to free itself from the shackles of an " administered society " in the wake of these reflections it is necessary to seek the place it should occupy today philosophy on real understanding of what will be the human enlightenment as a means for the formation of autonomous individuals the path taken by science in the tracks of " instrumental reason " late industrial capitalism has reduced men to things such that the barbarity of Nazi concentration camps attest to the horror that is meant a society semi - formed , since the psychological mechanisms and economically structured that led to Aushiwitz not left behind but endures today on other forms of harassment and violence as racism reification class workers and discrimination against religious minorities and socioeconomic groups to name a few in seeking to overcome this condition mechanized and impersonal capitalist societies current method presents as Adorno and counterpoint to all this bourgeois structure of late capitalism in which his Negative Dialectics by reason critical if reshape the trajectory of Western philosophy resuming the moment this is lost on metaphysical concepts and absolutizantes and now must resume its course while knowledge to enable man to pass a condition heteronomous to an autonomous status through the resistance of non- -identification system late capitalist
O trabalho que ora desenvolvemos reflete sobre o processo de formação em Theodor Adorno a partir da sua proposta de reformulação do método dialético clássico transformando-o em uma Dialética Negativa Partindo do pressuposto de que jamais em momento algum da história o homem pôde contar com tantas realizações tecnológicas e científicas e nunca se soube tanto sobre os astros celestes ou o domínio da natureza e que paralelo a todas essas realizações nunca houve tanta miséria em todas as suas dimensões violência e exploração do homem pelo homem refletir-se-á juntamente com Adorno sobre o verdadeiro papel da razão no presente contexto histórico se como instrumento a serviço do capitalismo tardio ou como finalidade do agir humano que busca libertar-se dos grilhões de uma “sociedade administrada” Na esteira destas reflexões faz-se necessário buscar o lugar que deve hoje ocupar a filosofia no entendimento real do que venha a ser o esclarecimento humano como meio para a formação de indivíduos autônomos O caminho percorrido pela ciência nos trilhos da “razão instrumentalizada” do capitalismo industrial tardio tem reduzido os homens a coisas de tal forma que a barbárie dos campos de concentração nazista atesta o horror a que se destina uma sociedade semi-formada, uma vez que os mecanismos psicológicos e economicamente estruturados que levaram a Aushiwitz não ficaram para trás mas resistem hoje sobre outras formas de perseguição e violência como o racismo reificação da classe operária e discriminação de minorias etárias socioeconômicas e religiosas só para citar algumas Na busca de superação dessa condição mecanizada e impessoal das sociedades capitalistas atuais Adorno apresenta como método e contraponto a toda essa estrutura burguesa do capitalismo tardio sua Dialética Negativa na qual por meio de uma razão crítica se reformulará a trajetória da filosofia ocidental retomando o instante em que esta se perdeu em conceitos metafísicos e absolutizantes e que agora deve retomar seu curso enquanto conhecimento capaz de possibilitar ao homem a passagem de uma condição heterônoma a uma condição autônoma através da resistência da não-identificação ao sistema capitalista tardio
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George-Driessler, Gertrud. "Theodor Fontane und die "tonangebende Kunst" : eine späte Wiedergutmachung /." Augsburg : [Universität Augsburg, Philosophische Fakultät], 1990. http://catalogue.bnf.fr/ark:/12148/cb355390899.
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Többicke, Christian. "Negative Dialektik und kritische Ontologie : eine Untersuchung zu Theodor W. Adorno /." Würzburg : Königshausen und Neumann, 1992. http://catalogue.bnf.fr/ark:/12148/cb35602024k.
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Wuensch, Daniela. "Der Erfinder der 5. Dimension Theodor Kaluza ; Leben und Werk." Göttingen Termessos, 2000. http://termessos.de/Kaluza.htm.
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Zalesky, Bodil. "Erzählverhalten und narrative Sprechweisen : narratologische Untersuchung von "Effi Briest" mit Schwerpunkt in den Dialogen /." Uppsala : Uppsala Universitet, 2004. http://catalogue.bnf.fr/ark:/12148/cb40051784j.
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Källström, Sofia. "Das Eigentliche bleibt doch zurück : zum Problem der semantischen Unbestimmtheit am Beispiel von Theodor Fontanes Effi Briest /." Uppsala : Uppsala Universitet, 2002. http://catalogue.bnf.fr/ark:/12148/cb41042292z.
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Klein, Richard. "Solidarität mit Metaphysik ? : ein Versuch über die musikphilosophische Problematik der Wagner-Kritik Theodor W. Adornos /." Würzburg : Königshausen und Neumann, 1991. http://catalogue.bnf.fr/ark:/12148/cb35511148n.
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Lindner, Henriett. ""Schnöde Kunststücke gefallener Geister" : E. T. A. Hoffmanns Werk im Kontext der zeitgenössischen Seelenkunde /." Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963885d.
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Pacher, Heinrich. "Die Spontaneität der Literatur Studien zur Literaturtheorie Adornos." St. Ingbert Röhrig, 2007. http://d-nb.info/999788094/04.
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Clot, Jean. "Theodor Fontane. L’acte littéraire ou la réponse de Narcisse." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040010.
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Le présent travail propose une interprétation psychanalytique de l’œuvre de l’écrivain réaliste allemand Theodor Fontane (1819 1898). À la lumière de la théorie freudienne et des thèses de Béla Grunberger sur le narcissisme, nous montrons ce que sont les ressorts et les enjeux inconscients de la création littéraire, chez cet auteur, laquelle, dans son principe, reproduit le schème de la position fantasmatique régressive que ménageait la grande passion ludique de l’enfant, le jeu de cache cache selon un mode spécifique. Partant du constat de la structure obsessionnelle des romans, notre étude met en évidence, dans un premier livre, l’existence, « sous » la fable sociale récurrente de la liaison amoureuse illicite, sanctionnée (adultère et relations équivalentes), d’un singulier scénario s’articulant autour de la dynamique du « pseudo Œdipe », que décrit Grunberger (procédure d’évitement, à des fins de régression), et du mécanisme de la défense masochique. L’analyse de ce « mythe personnel » (Mauron), comme situation dramatique interne, nous amène à dégager les traits particuliers des éléments constitutifs de la personnalité psychique de Fontane (imagos et instances), puis à établir la genèse de sa position « pseudo œdipienne » et à faire ressortir le rapport qui la lie au processus de création (« rétablissement narcissique »). Les résultats acquis sont passés au révélateur de la vie de l’écrivain. Dans un second livre, nous nous penchons, tour à tour, sur les divers aspects essentiels de l’œuvre, réexaminés sous le nouvel éclairage apporté : fonctionnalité de l’ambivalence, conception du réalisme « poétique » (transfigurateur), recherche de la conciliation des principes contraires, écriture comme la pratique d’un jeu de cache cache (questions du dialogisme, de la stratégie narrative, du symbolisme). La dernière partie est consacrée à l’étude de la problématique cardinale de la régression narcissique, à laquelle tout mène, ici : instrumentalisation du complexe de la faute et de la sanction, à visée autodestructrice, dans une tension vers la mort fantasmée comme le retour à l’état de félicité du séjour au sein originelThis study offers a psychoanalytical interpretation of the works of Theodor Fontane (1819 1898), the German realist writer. In the light of the Freudian theory and of Béla Grunberger’s theses on narcissism, we show the unconscious motivations which gave rise to this author’s literary creation and what is at stake in this process for him. The act of writing is based here on the principle of reproducing the scheme of the fantastical regressive position which was generated by Fontane’s strong passion as a child for the game of hide and seek, which he played in his own specific way. Considering the obsessive structure of his novels, in our first book we demonstrate the existence — “beneath” the ever present social dictum of the forbidden love affair that is always to be punished (adultery and similar relationships) — of a particular scenario revolving around the dynamic of the “pseudo Oedipus”, as described by Grunberger (avoidance procedure aiming at regression) and the mechanism of masochistic defense. The analysis of this “personal myth” (Mauron), as an inner dramatic situation, leads us, first, to unearth the specific features of the elements which make up Fontane’s psychic personality (imagoes and agencies), and then to establish the genesis of his “pseudo oedipal” position and to highlight its link with the creative process (“narcissistic restoration”). Our results are substantiated through the writers’s biography. In the second book we deal with the essential aspects of Fontane’s work, which we re examine thanks to what we have brought to light: the functionality of ambivalence, the conception of transfigurating “poetic” realism, the attempt to reconcile opposite principles and writing as a game of hide and seek (dialogism, narrative strategy, symbolism). The last part of our study is devoted to the cardinal issue of narcissistic regression to which everything leads: mainly the instrumentation of the complex of guilt and retribution with a self destructing aim in a tropism towards death fantasized as a return to the original state of bliss in the womb
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Silva, Raquel Patriota da. "Negatividade do Belo: A Estética crítica de Theodor Adorno." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/5648.
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Somehow concealed by the overflow of dissertations on cultural industry and, lately, on Negative Dialectics, Aesthetic Theory remains quite unexplored among Brazilian studies of Theodor Adorno s oeuvre. This work, however, should not be taken as secondary: as we shall demonstrate, it holds a particular relevance to the understanding of the intricate relations sustained by concepts in Adorno s philosophy. We look forward to elucidate these relations by discussing the concepts of Beauty and Negativity. This dissertation consists in three parts, through which we will explore the implications of the idea of negativity to his aesthetic thinking and how, as a result, his aesthetic thinking refers back to his critical philosophy. Adorno s assertion that aesthetic rationality wants to make good is a paradigm for reading his own critique of rationality, being by the same token the result and the driving force of his philosophical impulse. Thus, our work suits two possibilities: on the one hand, it contributes towards the present discussion on Adorno s criticism through the relevance accorded to negativity ; on the other, it contributes towards aesthetics, as a philosophical discipline, by displaying the critical import of one of its central concepts, that of Beauty.
De certa maneira ofuscada pela profusão de trabalhos sobre a Indústria da Cultura ou, mais recentemente, sobre a Dialética Negativa, a Teoria Estética permanece relativamente pouco explorada em meio aos estudos sobre Adorno no Brasil. Seu valor não pode ser considerado secundário mas, como procuraremos demonstrar, essa é uma obra de especial relevância para a compreensão das relações que os conceitos entretecem na filosofia de Adorno. Nosso trabalho discute o conceito de Belo e o de Negatividade como modo de trazer à luz a forma dessas relações. Através de três momentos, exploraremos como a ideia de negatividade do conceito está implicada na reflexão estética e como, em consequência, essas considerações estéticas retornam à filosofia crítica de Adorno. Seu conhecido postulado sobre estética como correção da razão instrumental é paradigmático para a leitura de sua própria crítica à racionalidade, ele mesmo sendo resultado e força motriz de seu pensamento. Com isso, nosso trabalho é dotado de uma dupla possibilidade: por um lado, contribui com as discussões sobre a filosofia crítica de Adorno ao dar relevo à negatividade em sua estética; por outro, contribui com a estética, enquanto disciplina filosófica, ao mostrar como uma de suas categorias centrais, a noção de Belo, pode tomar parte no discurso crítico.
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Tommaselli, Guilherme Costa Garcia [UNESP]. "Formação e semiformação nos escritos educacionais de Theodor Adorno." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/96330.
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tommaselli_gcg_me_mar.pdf: 510521 bytes, checksum: 1ab200c24a129961ef97261ab9f5eeca (MD5)A presente dissertação tem como objetivo realizar uma investigação sobre os conceitos de formação e semiformação nos escritos educacionais de Theodor Adorno e mais especificamente na coletânea de texto “Educação e emancipação”. O conceito de Halbbildung (semiformação) desenvolvido por Adorno é fundamental para realizar uma análise da educação, sendo, portanto, central em nossa análise. Os textos em que o autor trata da educação são um valioso referencial teórico, visto que representam uma poderosa ferramenta de reflexão crítica dessa sociedade, que, traz em si o germe da barbárie, da semiformação. Para tanto, o caminho escolhido para essa reflexão perpassa a compreensão dos conceitos de Bildung (formação cultural), Halbbildung (semiformação), assim como emancipação, articulando-os ao conceito de educação
The present work aims to conduct an investigation into the concepts of training and educational semi-formation, in the writings of Theodor Adorno, specifically in the collection Education and Emancipation. The concept of Halbbildung (semi-formation), developed by Adorno, is critical to perform an analysis of education, therefore, central to our analysis. The texts in which the author comes to education are a valuable theory, since they represent a powerful tool for critical reflection about capitalist society, which brings the germ of barbarity, of semi-erudition in itself. For this purpose we have chosen for this reflection pervades the understanding of the concepts of Bildung (cultural background), Halbbildung (semi-formation), as well as emancipation, linking them to the concept of education