Citas bibligráficas
Alcarraz, B., (2015). La reconciliación estética como consecuencia del desciframiento del carácter enigmático de la obra de arte en las vanguardias artísticas de la primera mitad del siglo XX en la Teoría Estética de Theodor Adorno [Universidad Antonio Ruiz de Montoya]. http://hdl.handle.net/20.500.12833/14
Alcarraz, B., La reconciliación estética como consecuencia del desciframiento del carácter enigmático de la obra de arte en las vanguardias artísticas de la primera mitad del siglo XX en la Teoría Estética de Theodor Adorno []. PE: Universidad Antonio Ruiz de Montoya; 2015. http://hdl.handle.net/20.500.12833/14
@misc{renati/1007839,
title = "La reconciliación estética como consecuencia del desciframiento del carácter enigmático de la obra de arte en las vanguardias artísticas de la primera mitad del siglo XX en la Teoría Estética de Theodor Adorno",
author = "Alcarraz Buleje, Benjamín Luis",
publisher = "Universidad Antonio Ruiz de Montoya",
year = "2015"
}
The research topic of this thesis is the aesthetic reconciliation as a consequence of deciphering the enigmatic character of the artwork in the Aesthetic Theory of Theodor Adorno. For that purpose, the question focuses on examining to what extent such reconciliation is possible. Therefore, it should be pointed that this decipherment is the solution to the enigmatic character of the artwork; that is, why a work of art shows something while hides it. However, such decipherment is a process that involves three stages which will be necessary to analyze and distinguish, because separately they give rise to each of the chapters of this thesis. Thus, in the first stage, it will be appropriate to consider the two contexts of appearance of the enigma. On the one hand, the 'critical theory' of the Frankfurt School. And, on the other, within the artistic vanguards of the early twentieth century. While in the second stage two notions of mimesis in relation to two reasons that are inherent to each of these are studied. In this sense, the mimesis as adequacy is the way how to represent faithfully and immediately reality through the artwork. Instead, the mimesis as critical reason is the reflexive dynamics established between the subject and reality through, for example, a painting. And the third stage looks for making explicit the decipherment of the enigma by the truth content of artworks. Which is understood in an aesthetic sense; that is, a course which combines both philosophical reflection (through concepts) and artistic perception (the first contact through the senses) to set up a truth of critical nature opposite modern chaos. Finally, deciphering the enigma, finding a solution, a consequence arises, which follows from the above described process, through the aesthetic reconciliation; that is, the possibility of coexistence occurs within the subject-object relationship dynamically established, although each one will maintain its own particularities and characteristics. And where this leads to the development of a negative utopia that involves a first distancing from reality, from which arises, to return to her critically (and, hence, aesthetically), opting for the possibility of coexistence where there is no objectivity or subjectivity as such, but a constant tension -dialectic- between subject and object.
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