Benjamin, Adorno e la "fisiognomica"

This study points out the methodological centrality assumed by the notion of “physiognomy”, both in Benjamin and in Adorno, namely the idea that the forms of the works of art, and generally those of the visual phenomena,
This study points out the methodological centrality assumed by the notion of “physiognomy”, both in Benjamin and in Adorno, namely the idea that the forms of the works of art, and generally those of the visual phenomena, are direct “expression”, in a micro-monadological way, of an historical-social sense, not otherwise attainable. On the one hand Benjamin’s physiognomy shows a particular interpretative “openness” to its objects, on the other that of Adorno remains subjected to an epistemological model of “totality”, from the Hegelian-Marxian tradition, which risks compromising the hermeneutic efficacy of its own original philosophical approach.
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Metadaten
Author:Giovanni Gurisatti
URN:urn:nbn:de:hebis:30:3-564577
URL:https://oajournals.fupress.net/index.php/aisthesis/article/view/570
ISSN:2035-8466
Parent Title (German):Aisthesis
Publisher:Università degli studi di Firenze, Seminario Permanente di Estetica
Place of publication:Firenze
Document Type:Article
Language:Italien
Year of Completion:2010
Year of first Publication:2010
Publishing Institution:Universitätsbibliothek Johann Christian Senckenberg
Release Date:2020/10/31
Tag:Adorno; Benjamin; Physiognomy
Volume:2
Issue:2
Pagenumber:11
First Page:181
Last Page:191
HeBIS PPN:471416401
Institutes:Gesellschaftswissenschaften
Philosophie
Institut für Sozialforschung (IFS)
Dewey Decimal Classification:100 Philosophie und Psychologie
300 Sozialwissenschaften
Sammlungen:Universitätspublikationen
Licence (German):License LogoCreative Commons - Namensnennung 4.0

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