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Time diagnosis, autonomy of art and domination in Adornos socio-aesthetical thinking

Grant number: 17/23817-3
Support type:Scholarships abroad - Research Internship - Scientific Initiation
Effective date (Start): January 22, 2018
Effective date (End): April 21, 2018
Field of knowledge:Humanities - Philosophy - History of Philosophy
Principal researcher:Ricardo Ribeiro Terra
Grantee:Lutti Mira Salineiro
Supervisor abroad: Genel Katia
Home Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
Research place: Université Paris 1 Panthéon-Sorbonne, France  
Associated to the scholarship:15/22485-1 - On Adorno's aesthetical materialism in the thirties, BP.IC

Abstract

Departing from our past researches on Adorno's socio-aesthetical thinking of the thirties and forties, our aim in this project is to compare the adornian time diagnosis of the Dialectic of enlightenment with his latest writings of the sixties - mainly Free time and a chapter of the Aesthetic theory, named Society -, presenting some of their differences. One of our objectives is, thus, to elaborate and contribute to the thesis that there's a fundamental difference in Adorno's time diagnosis of the forties and the sixties. In order to do so, we choose to highlight two aspects of Adorno's thinking in the mentioned texts: the first is his view on the possibility of art's autonomy, and the second is the extent of society's domination over subjectivity. In what concerns the autonomy of art, our study will focus on Adorno's sociological evaluation of its possibility, moving from its impediment in the Dialectic of enlightenment to its restoration in the Aesthetic theory. In this last oeuvre, art's autonomy is characterized as a pole of resistance to the culture industry, potential not yet seen in the forties, and this is mainly due to Adorno's sensibility to some new artistic phenomena of the sixties. The second aspect of Adorno's thinking that we shall directly approach also touches a central pole of resistance developed in Adorno's late writings, that is his revaluation of the possibility of resistance by the subjects to the culture industry, as well as a reassessment of the thesis of total integration promoted by late capitalism advanced in the Dialectic of enlightenment. On texts like Free time and Transparencies on film, Adorno insists in the disparities between the ideology fostered by the culture industry and its concrete absorption by the subjects, investing on the idea that some level of resistance was inherently present in people's consciousness. Therefore, our object will be the study of the constitution, inside Adorno's socio-aesthetical thinking of the sixties, of refuges of critical resistance, issue undeveloped in his time diagnosis of the forties. (AU)