300 Sozialwissenschaften
Refine
Year of publication
- 2019 (203) (remove)
Document Type
- Article (82)
- Contribution to a Periodical (42)
- Part of a Book (33)
- Part of Periodical (17)
- Doctoral Thesis (10)
- Working Paper (7)
- Book (5)
- Review (5)
- Bachelor Thesis (1)
- Master's Thesis (1)
Language
- German (111)
- English (60)
- Portuguese (15)
- Spanish (8)
- Ukrainian (4)
- Italian (2)
- mis (1)
- Multiple languages (1)
- Turkish (1)
Has Fulltext
- yes (203)
Is part of the Bibliography
- no (203)
Keywords
- Critical Theory (6)
- Frankfurt School (6)
- Adorno (5)
- critical theory (5)
- Escola de Frankfurt (4)
- Estudios organizacionales (4)
- Begriff (3)
- Digitalisierung (3)
- Escuela de Frankfurt (3)
- Estudos organizacionais (3)
Institute
- Gesellschaftswissenschaften (73)
- Präsidium (51)
- Philosophie (47)
- Institut für Sozialforschung (IFS) (42)
- Exzellenzcluster Die Herausbildung normativer Ordnungen (10)
- Institut für sozial-ökologische Forschung (ISOE) (9)
- Sprach- und Kulturwissenschaften (9)
- Cornelia Goethe Centrum für Frauenstudien und die Erforschung der Geschlechterverhältnisse (CGC) (8)
- Geographie (4)
- Geowissenschaften / Geographie (3)
Sind Meinungs- und Wissenschaftsfreiheit an den Universitäten gefährdet? Darf nicht mehr oder nur noch eingeschränkt über bestimmte Themen gesprochen werden? Präsidium und Studierende der Goethe-Universität hatten im Rahmen der Reihe »Diskursraum – Wissenschaft in Geschichte und Gesellschaft« einen Diskussionsabend im Bibliothekszentrum Geisteswissenschaften organisiert. Im so genannten »FishBowl«-Format war das Publikum eng eingebunden und konnte so die Möglichkeit nutzen, eigene Ideen und Anmerkungen einzubringen.
Gefährdung der Meinungsfreiheit? : Fragen an den Wissenschaftssoziologen Prof. David Kaldewey
(2019)
Nesse ensaio pretendemos apresentar aquilo que entendemos ser o estatuto teórico da Teoria Crítica e, a partir disso, explorar o diálogo que Jürgen Habermas faz com essa tradição. Através da apresentação das proposições de Max Horkheimer, Theodor Adorno e Herbert Marcuse, pretendemos evidencias como Habermas tem assumido o compromisso ético-político pela transformação social e pela emancipação humana que caracteriza o projeto frankfurtiano desde a primeira geração, assim como por meio da crítica aos antigos mestres elabora a ampliação do significado da racionalidade a partir de um novo marco de interpretação, para além da redução à razão instrumental. Finalmente, com essa discussão poderemos assinalar como sua proposta para a Teoria Crítica oferece elementos imprescindíveis para a contrução de uma Psicologia Social Crítica.
Neste artigo, propõe-se uma confrontação entre a teoria dos signos de Gotthold E. Lessing, tal como exposta em Laocoonte ou sobre as fronteiras da pintura e da poesia (1766), e os dois ensaios de Theodor W. Adorno sobre as relações entre música e pintura (de 1950 e 1965). Pretende-se, com isso, demonstrar a presença decisiva de elementos da estética clássica alemã no pensamento adorniano do pós-guerra; em particular, observa-se o modo pelo qual a teoria racionalista de Lessing atua na abordagem dialética adorniana a respeito da irredutibilidade formal dos meios artísticos e das possibilidades de sua convergência. À luz de tal confrontação, discutem-se, em um segundo momento do artigo, os temas da conferência de Adorno de 1966, A arte e as artes, que, em certa medida, consubstancia a discussão dos ensaios anteriores sobre música e pintura. Assinala-se, nesse contexto, a continuidade da posição teórica de Adorno e se apresentam as diferenças entre o processo de pseudomorfose e o de imbricação (Verfransung) dos meios artísticos, segundo o filósofo.
This article is an inquiry into the concept of metaphysical experience through a joint discussion of two authors and philosophers with different approaches that nevertheless converge in the reclamation of the concept and rely both on the experience of death as an example. In both cases, the authors are guided by the central problem of how not to relinquish metaphysical experience to unscrutinized immediacy or a powerful conversion which enjoins subjection, putting it in contact with aesthetics and ethics at once. Theodor Adorno situates metaphysical experience as a problem of philosophy of history and devotes attention to the contemporary possibility of experiences that evoke transcendence. The transformations he identifies in the concept also lead him to propose art as a domain where metaphysical experience is alive. The implicit personal investment Adorno makes is much more clear in Lacoue-Labarthe who, in a dialogue with Maurice Blanchot, shows the experience as deeply bound up with literature and its links to subjectivity. The article argues that the main difference between the two approaches is modal and temporal from the side of the object, aside from the different modes of interrogation recognized with the labels deconstruction and critical theory.
This essay focuses on the relationship between solipsism and aesthetic subjectivity, as outlined in Adorno’s Aesthetic Theory. As he mentions, according to dialectical materialism, solipsism gained actuality within (radical) modernism as general “standpoint”, realized in atomistic society through “reified division of labor”. This also applies to artistic production. At the same time, solipsism constitutes a long standing philosophical hypothesis, which concerns the truth value of perception, thus imitating the “subjective point of reference in art”. Therefore, Adorno’s brief statements on the relationship between epistemological solipsism and immanent artistic subjectivity designate different phenomena under the same heading; these concern sociological, cognitive and existential aspects of artistic creation and aesthetic experience, sedimented in the artwork’s content. However, he often undertakes abrupt conceptual transitions within them. In this essay, I mainly focus on the cognitive aspect, especially on the relationship between solipsism and art’s “subjective point of reference”. For this purpose, I reconstruct Adorno’s relevant ideas on the role of subjectivity within art and relate them to his elaborated analysis of the process of aesthetic experience. Finally, I scrutinize the value of this non-apodictic truth and its relationship to particular aspects of “truth-content” and to Adorno’s redemption of the artwork’s fragile ontological status, its semblance character.