Adorno's Aesthetic Theory

One of humanity's central concerns is understanding and evaluating the concept of experience through artistic expression, particularly in today's rapidly evolving world. This study offers a structured interpretation of "experience" in Joseph Beuys's 7000 Oaks, grounded in Theodor Adorno's philosophy of negative dialectics, which critically examines social contradictions. This descriptive-analytical research employs a library-based method to contextualize Beuys's work within the framework of social sculpture. The main objective is to explore how the dialectical emphasis on the object in Adorno's thought can clarify the experiential dimensions of social sculpture and assess whether Beuys's vision of an ideal society is achievable through this concept. The findings indicate that Beuys's social sculpture-when interpreted through Adorno's lensfunctions as a critique of content via structured ambiguity, contradiction, and negation. This process generates an aesthetic experience capable of shaping social consciousness. Furthermore, the study concludes that for social sculpture to be effective, it must retain a dialectical relationship with the object. Such prioritization ensures that the artwork influences society without diminishing the value of the artistic form or space, thereby supporting Beuys's notion that "everyone is an artist.

Arnold  Schönberg  and  Luigi  Nono  stand  as  emblems  for a certain sort of difficulty in music, a difficulty charted by Schönberg himself in his essay, "How One Becomes Lonely." 2 But this "difficulty" may have a purpose for us, at this time, either intended or unintended. Here I approach the "difficult" music of these two composers through the concept of experience, as described and discussed by Giorgio Agamben. Agamben's thesis concerning the formation of human subjects through a process of infancy is outlined, and related to the work of these two specific composers, in order to think about the place and function of music in a noisy world: what possibilities does this particular, "difficult" music hold for us, now, in the middle of multiple and ongoing, existential and planetary crises?

The purpose of this essay is to explore the section of Hegel's Phenomenology of Spirit [PS] 3 which deals with the problem of Self-Consciousness. I am particularly interested in this section of the Phenomenology because it bears on the question of empathy, or how we can know the subjective, experiential state of another person. Unfortunately, Hegel's philosophy, or metaphysics, is extremely complex, and his writing is notorious for its difficulty both in the original German and in English translations. The main feature of Hegel's thinking is his tendency to formulate issues in terms of dialectical moments. Once he establishes a position on an issue, he is driven to put forward the negative of the position, then to establish a new higher order position which attempts to unite the original view and the negative side. This process often makes it difficult to determine what, if any, Hegel's final conclusion or position is on a particular issue. Hegel's philosophy carries with it the core assumption of the Spirit (Geist) that is Ultimate, Absolute, and Eternal Being. Although the German term Geist can be translated as Mind, in common with many scholars of Hegel, I prefer the translation of it as Spirit because Hegel's notion of Spirit expresses far more than what is commonly meant by Mind. Spirit has a number of qualities including: 1) subjectivity,

Delving into the spatial revolution ushered in by aviation in the early twentieth century, this conference aims to explore the aesthetic and political implications of aerial vision, and to analyse how various aerial technologies - from airplanes to satellites, from spacecraft to drones and digital mapping systems such as Google Earth and Google Maps - have influenced urban planning, architecture and land management, transforming the way we perceive and understand the underlying world we live in through its images.

You can find the published version of this article here: https://doi.org/10.1177/01914537251349112

This paper reads Adorno's engagement with Husserlian phenomenology as a resource for recent discussions on phenomenology and social critique. Transcendental phenomenology's inability to develop an adequate account of society, according to Adorno, comes from its methodological compulsion to ground its knowledge in first principles. This leads it to produce a socially necessary illusion of society as a harmonious community of monads. If this "first philosophy" produces an inverted image of society, however, learning to see the resulting pseudos is a task for which there is no step-by-step formula. In contrast to Husserl's construction of society as a harmonious community of monads, Adorno's critical theory sees society as a negative totality, and he claims that doing justice to this contradictory social object involves breaking the compulsion to system and method as philosophical guidelines. After reviewing how Husserl's conception of method reflects in his account of the social world in the first section, we will examine Adorno's criticism of this aspect of transcendental phenomenology in the second. The third and final section begins to outline Adorno's alternative to Husserlian phenomenology: a fragmentary "last philosophy" that works to disclose the negative social totality through a conceptual reflection on the individual moments of suffering composing it.

Stefano Marino.
"Truth, Aura, Eros."

***

A clear connection between eros, truth, and utopia is established by Adorno. As Adorno observes in his 1958 Vorlesung, “the recognition of difference represents a kind of utopia […]. That the heterogeneous may coexist with the heterogeneous without each destroying the other, that one heterogeneous thing may leave room for the other to unfold as well, and that—we may also add—the heterogeneous may love and be loved, this would be the very dream of a reconciled world.” This observation reveals the secret but nonetheless decisive relation that Adorno envisions between dialectics—as a form of thinking that attempts to understand in a critical and disillusioned way the unreconciled world, but at the same time keeps the faith in the possibility of reconciliation—and the erotic dimension, in this case exemplified by the phenomenon of love. Can we suggest that the phenomenon of aura offers us a promising interpretative key to try to understand the enigmaticalness of love? And, conversely, can the experience of love help us to try to understand the indefinable and atmospheric phenomenon of aura?

This paper deals with the question of time and entrapment in three of Samuel Beckett’s plays: Waiting for Godot, Endgame, and Happy days. The characters in these plays are restricted by the limitations, and nature, of their positions, their capabilities and availabilities. Their dreams, fancies, desires, wishes, and nostalgia for the past of which the audiences, or readers, have no knowledge provide striking reminders of the harsh realities in which they live. Thus their desires, hopes, and intentions to do something establish a kind of self-condolence by which they would gain mental stamina to carry on.

THE SONGBOOK OF GUIMARÃES ROSA H a muito que a crí tica litera ria avalia o impacto da tradiça o oral na obra de Joa o Guimara es Rosa. Neste campo, aluso es ao cancioneiro brasileiro oferecem muitos to picos de pesquisa. Com base em estudos culturais e seguindo uma abordagem comparativa e gene tica, este artigo examina aluso es de Guimara es Rosa ao cancioneiro brasileiro. O objeto do estudo e o dia rio de viagem A Boiada (2011), escrito durante uma viagem em 1952. O estudo indica que o reperto rio coletado pelo autor, como parte de um processo criativo de escrita, permite iluminar aspectos culturais da sociedade que o cultivou, na regia o de Minas Gerais; e como Guimara es Rosa expressa alguns ge neros do cancioneiro em seu estilo litera rio. Nesta acepça o, o cancioneiro e importante fonte de inspiraça o para a prosa ficcional do autor.

Partindo de ponderações não apenas conceituais/reflexivas como também expressivas/literárias, este texto procura tensionar obras de campos distintos. O filosóficoem que o principal alicerce é a racionalidade conceitual -e o artístico em que ganham relevos os aspectos miméticos expressivos. Este entrelaçamento procura desvelar contrapontos entre o conto literário O Espelho, de Guimarães Rosa e as reflexões filosóficas suscitadas na Teoria Estética e na Dialética Negativa de Theodor Adorno. Essas obras, em seus distintos campos e com suas diferentes formalizações, colocam em tensão forças contraditórias. De um lado o esforço persistente do conceito que procura dizer algo de indizível, explorando os seus limites em direção ao seu oposto, o não conceitual no objeto conceituado. Do outro lado do espelho, como um negativo do movimento do conceito, a narrativa de Rosa explora os aspectos expressivos da palavra de modo a revelar no objeto detalhes opacos ao conhecimento conceitual. Palavras-chave: estética; experiência; espelho; guimarães rosa; theodor adorno.

Barry Manilow, yes. Suburban radio music in the U.S. from the late 1960s and ‘70s, in other words, is the best example for the critique of postmodernism. For this was the time when, like never before, there were innumerable examples of self-referential tunes—in others words, countless instances of songs about songs, music about music, song-making about song-making, listening about listening. Such music about itself exhorts people to come together for some greater good that, in the end, amounts to buying a bunch of stuff. It’s music that imagines people relating to one another through commodities, in other words, and music about music is the specific vehicle for this imaginary tenor. To some readers, of course, any critical thesis about popular music as a self-referring commodity comes as no surprise, and needs no Theodor Adorno to decipher. But quite why this music is fetishistic in the way Adorno spoke of jazz, and indeed how it is ideological, is worth exploring, if for no other reason than the fact that this music is ubiquitous and inescapable.

El artículo analiza un escrito que los estudios recientes de la obra de Simmel han desatendido en virtud de sus supuestas incoherencias y posicionamientos irracionalistas: el ensayo biográfico Goethe, de 1912. Mediante un análisis de sus aspectos formales, se determina la función de la obra en el sistema del ensayismo biográfico alemán y se defiende la hipótesis de que la estructura contradictoria del libro expresa críticamente desgarros socio-objetivos, y que por ello el escrito constituye una pieza significativa en la teoría social de Simmel y ofrece indicios para la filiación de esta en la tradición de la teoría crítica.

Miradas estéticas ante los retos del presente Modalidad (clásico/intensivo) y Fechas Aproximadas de Celebración 04/02/2025 al 08/04/2025 Línea de Investigación: Estética y política Grupo de Investigación: Estética contemporánea: arte, política y sociedad (Grupo UCM 970943

Samuel Beckett's Waiting for Godot portrays the absurdity of human existence through Vladimir and Estragon's futile wait for Godot. Blending existentialist philosophy with slapstick comedy, the play explores themes of nihilism, isolation, and despair. It reflects mankind’s perpetual search for meaning in an indifferent, cyclical, and purposeless world.

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Ao meu orientador, professor Douglas Garcia Alves Júnior, pelo zelo; e pelo respeito à minha autonomia. Aos professores que integraram a Banca Examinadora da dissertação, pela atenção e pelas críticas. Aos meus amigos e irmãos -em especial, a Lenício Dutra Marinho Júnior, pelo exemplo e pela revisão; a Guilherme Dutra Marinho, Vinícius Domingos Moreira e Thiago Sebben, pela interlocução. À minha esposa, Juliana, pela paciência, interlocução, revisão e sugestões certeiras. Aos meus pais, pelo inestimável. "O esforço do sujeito para penetrar o que, como objetividade, se oculta detrás da fachada, é estigmatizado como ocioso: por medo da negatividade em geral... A quem, em lugar de aceitar e ordenar, interpreta, se lhe aplica a estrela amarela de quem, desvigorado, com inteligência mal encaminhada, sutiliza e mete coisas ali onde nada há que tirar. (…) Sem embargo, para descobrir-se a superabundância de significados que se encontram encapsulados em qualquer fenômeno espiritual, [exige-se] precisamente aquela espontaneidade da fantasia subjetiva que em nome da disciplina objetiva se condena. A interpretação não pode extrair nada que a interpretação não tenha, ao mesmo tempo, introduzido. Os critérios para isso são a compatibilidade da interpretação com o texto e consigo mesma, e sua capacidade para fazer falar a todos os elementos do objeto juntos.

The triangular friendship between Walter Benjamin, Theodor Wiesengrund Adorno and Gershom Scholem left a remarkable trace in the letters the three intellectuals exchanged during their lifetime. After the publication of the Scholem-Benjamin correspondence in 1989, and of the Adorno-Benjamin one in 1999, it is now possible for English speaking readers to close the triangle, thanks to the publication of Theodor W. Adorno and Gershom Scholem, Correspondence 1939-1969: translated by Paula Schwebel and Sebastian Truskolaski, and edited by Asaf Angermann.

Kant developed a metaphysics of morality by transforming the subject into a transcendental structure. With his moral understanding, Kant aimed for the subject to dominate nature and to be liberated in this respect. Adorno criticized the moral system developed by Kant because it was both given by Kant and not applicable to practical life. Adorno tried to explain this situation with the concept of culture industry. In this context, culture has turned into a mass production and consumption tool, leaving the subject among this field. In this system, which is also defined as mass culture, the subject has become identical with the object from a certain point. Because the human, who is the instrument of consumption and production, has become the most important part of the system and has become identical with the object both in production and consumption. The domination of the subject over the object, aimed by Kant, has opened the way for domination over the subject as it brings the two to the same position in practical life. In this respect, with the Enlightenment, while the privileged of the subject was expected to liberate the subject, it turned him into an object of domination. Therefore, the aim of this study is to try to discuss how the field of freedom created by the subject turns into a field of domination with the culture industry from Adorno's critical perspective.

Alberto Siani’s first English-language book, Hegel and the Present of Art’s Past Character, is a short but dense book which brings together some recent essays of his: primarily explications of the historical and philosophical background (in Kant and Schiller) of Hegel’s famous declaration about art’s
highest vocation persisting as a thing of the past.

The volume contains a collection of works of artistic beauty shaped by aesthetics and art criticism and the decisive role of the often opposing mass sense of beauty. These analyses have been collected in the individual arts, music, theatre and film life, literature and visual arts in the version of ChatGPT4o1, thus providing a more concrete picture of the role of these determinants. Summaries of works analyzing the influence of political power on artists and individual art forms are presented, both from the point of view of the methods used by the Soviet regimes to support their dictatorship and from the point of view of the anti-conservative and national sovereigntist influence on art by current globalist power groups in the West. Then, with the advent of artificial intelligence creations, changes affecting the questions of artistic beauty come into focus, and summaries of analyses and theories already developed in this field can be read. Finally, in the final part, analyses of the creation of the sense of beauty are found in the mind of each person, first usually in the light of theories discussing the arts as a whole, and then, at the end of the section, based on a summary of analyses tailored to the specific contents of a single art form.

What do materialist accounts of art and mind miss about norm-governed, concept-mongering, human life? What immaterial aspects of sensuousness and receptivity are overlooked by recent critical turns to surface, affect, and the agency of objects? With Modernist Poetry and the Limitations of Materialist Theory, Charles Altieri contributes to a growing number of revisionist accounts of Hegelian aesthetics (see, e.g., Brown, Chodat, Pippin, and Suther) by enlisting a fashionably secularized Hegel to examine these questions in connection to what he calls the constructivist poetics of High Modernism. Aesthetics, it seems, has moved from its Kantian into its Hegelian phase. To followers of Altieri's career, the central characters here are familiar: Williams, Eliot, Pound, Moore, Stevens, and Ashbery on the literary side, Braque, Picasso, Monet, and Malevich on the visual. Readers of Altieri's Painterly Abstraction in Modernist American Poetry (1989) will recall the deployment of High Modernist abstraction against the sensuous immediacy of impressionism. Against the background of impressionism exemplified by Monet, Altieri defends the aesthetics of the High Modernists as irreducible to sensuous receptivity. For Altieri's Hegel, perception is making, not finding. The High Modernists' collective engagement with what Altieri, borrowing from Hegel, calls "self-conscious inwardness" and "inner sensuousness" provides a metadiscourse of sensuous activity-the "seeing of seeing and the feeling of feeling" (17) that exceeds the limitations of the sensible. Altieri's historical narrative in this book resembles an earlier critical touchstone. Impressionism is to Altieri's modernism what neoclassicism was to Meyer H. Abrams's Romanticism. Mired in mimeticism, impressionist landscapes are tied to the vain effort of getting things right whereas Braque, for instance, instead pursues "what he imagined landscape could be" (18). Like Abrams's Neoclassical mirror, impressionist art remained caught in the culde-sac of realist depiction rather than embracing, à la Romanticism's lamp, the expressive power of mind and its sovereignty over receptivity. Contrasting Picasso and Cézanne, Altieri details "modernism's war on the authority of empiricist treatments proclaiming what objectivity might involve" (22). Picasso counters the empiricist inflection of Cézanne's still lifes with "a repertoire of powers experienced as enabling participation in the making" of the work of art. This is what constructivist aesthetics means for Altieri: a practice of dialectically recasting the objective or sensuously given as actively constructed, the

Manolo Millares emerged as a key figure in Spanish Informalism during the 1950s, a time marked by Francoist censorship and repression. This article examines Millares's complicated position during Franco's regime, arguing that his focus on absence and materiality, analyzed through Adorno's negative dialectics, constituted a radical form of aesthetic protest. Millares utilized mixed media to create works that evoked themes of death and violence, yet transcended mere figuration. Millares's innovative approach, characterized by the use of burlap and incisions on the canvas, challenged traditional aesthetic unity and formalism. By engaging with multiple forms of absence and non-identity, his work resisted subsumption into political or aesthetic narratives.

, 88-89 (399a-399c). 6 »Listen to the song; listen to the accompaniment, and afterwards tell me in what way the actual tones of the dying man, and the form of this melody, differ. You'll see if the modulations of the melody do not perfectly coincide with those of the spoken word.« Denis DIDEROT, Rameau's Nephew and First Satire, trans. Margaret Mauldon

The purpose of this article has been to promote culture by criticizing the cultural industry. Enlightenment thought played an essential role in performing the function of cultural criticism and promoting the creative transformation of human survival through criticism towards the generation of a new subject. Therefore, it is necessary to clarify the essential significance of Adorno's critical theory of the cultural industry when discussing the criticism of Enlightenment thought towards the cultural industry. This article attempted to reinterpret the criticism of the cultural industry by introducing Enlightenment thoughts, recognizing that Enlightenment thought was not entirely harmonious but contained completely different ways of understanding. These two distinct understandings and their contradictions can dialectically co-exist in future historical development processes, and the criticism of the cultural industry can play an important role in promoting cultural construction.

Contents
Revolt 3
Damaged Subjects 7
Alien Visitors 10
Moral Blackmail 11
Adorno and Assimilation 13
Asylum 17
Tracing Despair 21
Criticism versus Violence 23
No Way Out 25
Obscure Writing 28
A Love Supreme 30
On the Reservation 32
Postscript

Since the outbreak of the covid-19 pandemic in 2020, humanity has experienced multiple micro and macro traumas concerning the way of life, selfcare, collective responsibility, learning, cultural experience, and politics. This may seem too general a formulation to start from, yet the whole point of the pandemic situation is to be found exactly in its general-or even universalaffect(ion) and effect upon the human condition, mediated by the process of contagion. This historical landmark can be interpreted as a negative factual argument for the reconsideration of the classical ideal of philosophical universalism: although every state, every culture, and every community has its own identity and socio-political inclinations, they were all crossed by the covid-19 virus and, thus, all were obliged to react in one manner or another. Hence, it is not a theoretical exaggeration to point to the urge to rethink the concept of "humanity," to reassess the relation between the microcosm of the individual and the macrostructure(s) of society, to both deconstruct and reconstruct the speculative dependence between liberty and responsibility, to design new ways of (e)learning, and to highlight once more the (e)motional and critical role of culture(s). Art, as always, had an important function in helping us to express our condition(ings) and-maybe more insightfully than statistics, with which we were assaulted daily-was a mirror of emotions, vulnerabilities, conflicting perspectives, and needs. My starting point in the present study is that by analyzing some characteristics of performing-and thus mimetic-arts such as music and dance, we can better understand the profundity and specificity of the traumas experienced during the pandemic. This assumption is sustained by an argument assembled from three ideas: First, music, dance, theaterand generally all the arts that have a performative dimension-work with the body, and in a medical context in which bodily (re)actions have the primacy of "speaking," it should be clear that a relation of mirroring between performative arts and medical performances is unavoidable. Second, the performing arts were among the most affected areas of human activity precisely because they rely on physical participation. The difficulties were not only financial, but were

This paper aims to unmask the sharp vestiges of Absurdity as an offshoot of Existentialism both through the form and content of the play, for which, a skull-like room devoid of any sign of life and hope has been designed. As a matter of fact, this research focuses on the imbroglio after the Second World War from which no exit door could be found and this overwhelming bog is mostly represented through the two characters who are called Hamm and Clov. In addition to that, the co-dependency between the Modern Men as an absurdist notion is represented through the bonding between Hamm and Clov; although Clov every now and then gets exhausted by giving services to Hamm, he supposes that if the bonding between them is torn, their existence will be at stake. It is worth mentioning that the cyclical pattern of the play as an embodiment of the cyclical stasis of human existence alongside the unconscionable repetitions in characters' dialogues which stands for the emptiness and meaninglessness of modern life will be discussed in detail. Apart from the absurdist features of Endgame which have been succinctly referred to, another underlying trait of this literary movement, namely the failure of language to help the characters communicate well and its pivotal role as a propeller towards their isolation and alienation will be scrutinized. Finally, an important question, which has made Endgame's attentive readers overly curious is to be answered in this research; the question is that 'are characters' actions in this play a representation of Existentialist philosophy or Absurdism?'

En Das Passagen-Werk Benjamin vuelve sobre el concepto de Ursprung, esta vez, como salto genuino de lo que ha sido, como vuelco dialéctico  del pretérito en el instante (Jetztzeit) de legibilidad del materialista histórico. Pero también como parada e interrupción [Stillstand] de este despliegue, donde la fuerza dialéctica queda suspendida por un instante, en el ahora de su cognoscibilidad. Para llegar a esto, el berlinés ha hecho un recorrido reflexivo, crítico y contundente, el cual comienza a definirse más intensamente desde el prólogo Epistemocrítico de su Trauerspiel. Rastrearemos el recorrido en ambas obras, en las construcciones problemáticas de sus textos y fragmentos anteriores. Nos fijaremos en la mediación, relación y conexión de la obra de arte y el arte como despliegue teórico; sobre todo en la tensión existente entre los primeros Románticos y Goethe, en la dialéctica entre la forma pura [Idee] y el contenido ideal [Ideale] del arte. También nos inmiscuiremos en
las tesis Sobre el concepto de historia y Parque central y algunos fragmentos sobre Baudelaire. Nuestro objetivo es mostrar el despliegue de la imagen [Bild] en la escritura filosófica benjaminiana.

El presente artículo se propone desarrollar las implicancias de la lectura realizada por Jorge Luis Borges del filósofo alemán Arthur Schopenhauer. El escritor argentino, sostendremos, realiza una operación de lectura muy particular con dicho filósofo, utilizando conceptos schopenhauerianos no solo en sus propios escritos poéticos, narrativos y ensayísticos, sino también en la propia construcción de sí como figura intelectual. Las implicancias de esta apropiación constituyen, por ende, un aspecto fundamental de su obra que no ha sido lo suficientemente trabajado hasta la fecha.This article aims to develop the implications of the reading made by Jorge Luis Borges of German philosopher Arthur Schopenhauer. The Argentinian writer, as we will propose, directs a very particular reading operation towards the previously mentioned philosopher, by using Schopenhauerian concepts not only in his own poetics and narrative writings aswell as in his essays, but also in his own construction of him...

Um aspecto relevante a se referenciar e mencionar no pensamento filosófico de Adorno é a não identidade do não-idêntico, que é preservada por meio da arte, através de sua linguagem, que se renova permanentemente em razão de seu caráter enigmático, de memoração e de reconciliação crítica da realidade. É crítica porque, ao se expor com uma linguagem própria, nela contida de modo silencioso, opõe-se à sociedade reificada da racionalidade instrumental, um pensamento que tem a caraterística de objetivar o conteúdo na identidade positivada em si mesma

Эпоха раннего кино предоставляет исследователям огромное количество тем и проблемных полей. Одно из них - отношения кинематографа и религиозных институтов, в частности христианских церквей. В статье рассматривается позиция католического, православного и частично протестантского клира к раннему кинематографу  как к  новому медиа, прежде всего как к средству катехизации,  и как к новому эстетическому феномену.  Параллельно с этим в тексте уделяется  внимание самой природе раннего кинематографа, которая раскрывается с новой стороны в контексте репрезентации кинематографом религиозных сюжетов.

The convergence of aesthetic theory and practice has a long history. In addition to authors of the Western tradition such as Theodor W. Adorno, Simone de Beauvoir, or Bernhard Waldenfels, it is currently above all the merit of decolonizing approaches to expose and unfold aesthetic modes of thought and mediation in the course of a persistent deconstruction of abstract theoretical structures. Instead of proposing treatises following a linear line of argumentative development that often only soberly and succinctly refer to the sensual richness of practical experience, Kandice Chuh and Saidiya Hartman, for example, create fabrics in which conceptual-analytical considerations, poetic negotiations and visual representations are interwoven. Even though the rhetorical strategies of disruption, irritation and pulling force involved here are widely used in contemporary cultural theory practice, there is by no means unanimity, especially in philosophy, about the legitimacy of their use.

Fundamentally, the dimensions of meaning of the term aesthetics point to overlaps between a theory practice, an object and a means of sensually grounded effect that occurs in experiences. Adorno interprets these overlaps as appropriate to the object of investigation. In his view, aesthetic theory practice requires a mimetic reconstruction: philosophical aesthetics must itself become aesthetic. This is achieved, among other things, by the rhetorical strategies just described.

This talk explores the question of the extent to which such an entanglement of aesthetic theory and practice represents both an opportunity and a risk for philosophical perspectives. The starting point for this is the observation that through the progression from poetic to visual to acoustic or tactile phenomena, theory practice reaches non-linguistic borderlands of bodily experience that do not belong to its area of competence in the conventional sense. If it nevertheless wishes to follow Adorno’s dictum, philosophical aesthetics must engage with a dimension of it falling silent without equating this with the total abandonment of all epistemic claims. The talk follows the hypothesis that this falling silent can constitute a fruitful starting point for mediation if the inconclusiveness of philosophical theory practice is considered in a self-critical manner in the process. The argumentation follows the idea that a philosophical position can get involved with the effect of aesthetic phenomena if it understands them as media that enable philosophy as a shared thought practice in the first place. This means determining aesthetic phenomena in their sensual richness and linguistic limitations as a hinge with which the limitations of an individual philosophical position can be linked to the offer of thinking further with others. Here, the opacity of aesthetic phenomena appears as both falling silent and connectivity, both dimensions being entangled in a dialectic way. However, precisely because this approach remains underdetermined due to its operation at the limits of linguistic comprehension, it also comes with risks. These will be discussed in the talk with a focus on the concept of accuracy. In this context, a difficulty of aesthetic mediation as open-ended process of exploring meaning takes shape. This difficulty will be discussed on the basis of the proposal to determine philosophical considerations as embedded in a network of practice in which accuracy and appropriateness as well as epistemic, ethical, and aesthetic perspectives are dependent on each other.

The talk follows a four-part structure: The first section explores the diversity of aesthetic presence in philosophical theorizing. The second section discusses the peculiar relationship between aesthetic theory and practice. The third section explores the tension between opacity and connectivity. The fourth section utilizes the concept of accuracy to raise the question of the limits of aesthetic mediation.

Este ensayo plantea una aproximación al concepto de arte formulado por Bolívar Echeverría a la luz de su diálogo con el concepto de arte de Benjamin. El trabajo se divide en tres partes. En la primera se aborda la propuesta estética de Echeverría, y su reflexión sobre la dimensión autocrítica de la vida social, que permite plantear la existencia de una noción de “arte evanescente”. En la segunda parte se propone como hipótesis que en Echeverría surgió la necesidad de reubicar el énfasis de su propuesta estética a partir del diálogo que entabló con las nociones de arte aurático, no aurático y la interpretación del sentido de las vanguardias artísticas del siglo XX, desarrolladas por Benjamin en su ensayo La obra de arte en la época de la reproductibilidad técnica. En la última parte se presenta la reflexión que Echeverría elaboró acerca del destino del arte contemporáneo, tomando como referencia la polémica entre Adorno, Horkeheimer, por un lado, y Benjamin, por el otro.

The dominant view for the relation between Adorno and Nietzsche is that the latter's influence on the former, in terms of style and content, is primarily to be found in Adorno's book Minima Moralia. Contrary to the dominant view, this article takes seriously Adorno's admission that "of all the so-called great philosophers I owe [Nietzsche] by far the greatest debt-more even than Hegel" and investigates the extent of Nietzsche's influence in the conception of negative dialectics. It is argued that there could be a significant as well as inconspicuous influence that runs through Adorno's Negative Dialectics to the point where Nietzsche legitimately be proclaimed the originator of Adorno's negative dialectics. For those who consider negative dialectics to be the paramount achievement of Adorno's thought, this claim would be equivalent to the claim that Nietzsche's most significant contribution in Adorno's thought is to be found in Negative Dialectics rather than in Minima Moralia.

This article rereads the aporia in Freud's theory of mourning as a problem for representation and aesthetics. Drawing a parallel with Kant's account of the disinterested nature of aesthetic judgement, I argue that the mourner's stubborn willingness to persist in the reproduction of images of the lost object, in spite of their conscious knowledge of the irreversibility of the loss, wrests a minimal zone of autonomy from the sphere of practical interests. In dialogue with Adorno and Laplanche, I conclude by arguing that Freud's inability to adequately explain the problem of mourning is less a shortcoming of his theory of libidinal economy than it is proof of the enigmaticalness of mourning itself.

Some contributors have thought it important to refer to a larger range of specialist critical editions and commentaries (often using the standard abbreviations when referring to these versions). Of these, the most impor tant are the following:

Quase um ponto cego na fortuna crítica rosiana, “O burro e o boi no presépio” ressente-se também de uma evidente negligência editorial – das 26 imagens referidas pelos poemas, duas reclamam revisão e cinco não constam na única edição ilustrada, esgotada há anos. Tendo reconstituído e sanado as correspondências imagem-poema, nosso trabalho analisa, num primeiro momento, “O burro e o boi no presépio” enquanto ponto de interseção das veredas-mestras da poética de Rosa – a espacialidade, a performatividade, a autoinclusão e a preocupação metafísica. Considerada nessas quatro dimensões fundamentais, cada obra e a obra inteira de Rosa emergem como um poema, uma configuração de nexos não-lineares que um autor implícito conspícua e deliberadamente atuante faz por apontar. Em Corpo de Baile o nexo fundamental é justamente o presépio. Mistério fundador no cristianismo, a Natividade associa-se à devoção festiva e
risonha que encontramos no ciclo das sete novelas, onde o presépio é, mais do que leitmotif, uma celebração da poesia como lugar do sagrado. Sempre lado a lado com os poemas do presépio, a segunda parte do trabalho percorre Corpo de Baile como essa celebração performada na coenunciação literária, profissão de fé a um tempo estética e religiosa, de um escritor para quem “credo e poética são a mesma coisa” (ROSA, 1983, p.74).
Palavras-chave: “O burro e o boi no presépio”; Corpo de Baile; poesia; imagem; sagrado.
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Point aveugle pour la critique rosienne, “L´âne et le boeuf dans la crèche de Noël” se ressent aussi d´une évidente négligence du point de vue éditorial: les lacunes et inexactitudes de la correspondance images-poèmes, dans la seule édition illustrée qu´il y en ait, n´ont jamais été addressées. Ayant corrigé ces problèmes, nous analysons, dans un premier moment, “L´âne et le boeuf dans la crèche de Noël” en tant que point de convergence des traits essentiels de la poétique de Guimarães Rosa – la spatialité, la performativité, l´auto-inclusion et la préoccupation métaphysique. Sous cette approche, chaque ouvrage et même l´oeuvre toute entière peuvent être interprétés comme un poème, une configuration où les liens nonlinéaires sont aussi importants et évidents que ceux établis par la contiguïté. C´est justement la Nativité le lien qui, plus ou moins ouvertement, unifie les sept nouvelles
de Corps de Ballet. La deuxième partie de notre travail se propose de parcourir Corps de Ballet côte à côte avec les poèmes rosiens, en regardant la nativité non seulement comme un leitmotif, mais aussi comme célébration de la poésie en tant que locus du sacré.
Mots-clés: “L´âne et le boeuf dans la crèche de Noël”; Corps de ballet; poésie;
sacré.
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“The ass and the ox at the Nativity scene” has been all but ignored by critics as well as by the publishing world – evidenced by the fact that the only illustrated edition of the 26 poems has been out of print for over twenty years, with all its editorial errors as yet uncorrected. Having addressed these issues raised by the correspondence between the poems and the images to which they refer, we begin by discussing the work as a converging point for some of the hallmarks of Rosa’s poetics – spatiality, performativity, reflexivity and metaphysical concern. In this light, each book taken individually, as well as Rosa´s body of work as a whole, can be interpreted as poetry -- poetry in the sense of a semantic configuration in which meaning is conveyed as
much through non-linear channels as through linear ones. In Corps de Ballet, it is precisely the Nativity scene which serves as the core nexus linking together the various strands of imagery. As Christianity’s founding mystery, the Nativity is directly associated with the forms of festive and gleeful worship found in all seven stories. More than mere leitmotif, it is in itself a celebration of poetry as a vehicle for holiness and spirituality. Drawing further parallels with the Nativity poems, part two analyses Corps de Ballet in terms of this celebration qua literature, exploring writing itself as an act of faith that is at once aesthetic and religious in the work of an author for whom
“creed and poetry are one and the same”(ROSA, 1983, p.74).
Keywords: “The ass and the ox at the Nativity scene”; Corps de Ballet; poetry;
image; sacred.

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We are all nominalists. Such is the claim of Eduardo Sabrovsky's recently translated Modernity as Exception and Miracle. The historic confrontation between realism and nominalism, between those, since at least Plato, who proclaim universals, and those who emphasize particulars, has been decided in favor of particulars. What had once been the philosophical position of a few, like David Hume, who had to argue against the realists of their time, has become the horizon of our thinking, such that now, as Borges writes, "[n]o one says that he is a nominalist, because nobody is anything else (Borges 1964:157 [1960: 216]). Sabrovsky quotes these lines (87), not only to elucidate Borges' work (and particularly stories like Funes and The Immortal) but to lay out the task of modernity (and post-modernity). If nominalism has won, if the spell of Plato's cave allegory and Leibniz's Theodicy has been broken, then this does not mean that we are content to embrace individuals without recourse to rational thought. No such skeptical triumphalism is warranted. We find ourselves instead, Sabrovsky explains, in a "skeptical paradox" (65): we can no more reject the real than we can accept it as the truth of particulars. We are in the midst of both words and things, attempting to "keep open the gap between" them (87).

In the Introduction to the Lectures on Aesthetics, Hegel describes his "science of art " as "building" upon the "foundation" of Kant 's Critique, claiming that. by "representing " ''freedom ", the "point of unification " of all opposition between spirit and nature, the Critique constitutes both a "turning point " within the history ofphilosophy and an "absolute point of departure" from which philosophy cannot turn back (Hegel, XIII: 83-84). While the Critique describes neither representation, nor its opposite, freedom , as a symbolic union of opposites, maintaining instead a strict separation of mental fa culties and sensations across its tripartite organization, its own self-enclosing, architectonic structure is transformed into a representational moment by Hegel, the new beginning of a dialectical narrative representing all representation as historical and the rationale of history as the overcoming, by spirit, of representation itself. Parallel to this historicization of "Kantian philosophy" is Hegel's description of "pre-art" (XIII: 84, 393). These monumental "housings of the dead" constitute at once the dialectical beginning of and preparation for aesthetic representation because they prohibit representation : purposefully "indecipherable riddles ", they contain a visually and mentally inaccessible content, bodies preserved for the first time "as dead " rather than as a subj ect ofmetamorphosis (XIII: 464-65, XIV: 291) In so severing any meaningful link between the two, the pyramids first represent materially the possibility of the complete "freedom " ofspirit from matter (XIII: 459). They thus inaugurate aesthetic history by making art, first, semiotic; negating the intellectual union between bodily form and meaning, they compel their own perception as "sign " (XIV: 273). Yet what makes this first architectonic sign aesthetic-and thereby constitutes the aesthetic in Hegelis its narrated relationship to the other, equally nonrepresentational "sign " of the Aesthetics, the formless "sounding as such" of romantic poetry (XIV: 140). Already figured by the Egyptian colossus whose stone was reported to "sound" in the light of dawn, the riddle-like relationship between the symbolic pyramids and romantic poetry renders semiotics historical and aesthetic by locating the meaning of each of these "meaningless sign]s]" in the temporally and formally removed perception of the other (XIII: 462, XV• 235).

La pasión como destino: las leyes naturales a impulsos de la pasión. Un acercamiento a la obra "Las afinidades electivas" de Goethe. "ya no somos dueños de lo que de ello ha resultado, pero sí de hacer constatar sus efectos, de guiar las circunstancias para nuestra felicidad"-Johann Wolfgang von Goethe