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Koncepcja osobowości autorytarnej

100%
Pohl A.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2010
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issue 2(14)
435-458
EN
The main goal of this article is to present the concept of the authoritarian personality, which is considered to be a significant attempt at an explanation of an individuals disposition to support extremist ideologies. The concept was first presented in The Authoritarian Personality, a book written by Theodor W. Adorno, Else Frenkel -Brunswik, Daniel J. Levinson and Robert Nevitt Sanford, which was published in 1950. They concluded that there exists a syndrome of personality traits which explain an individual’s susceptibility to antidemocratic ideologies. On the basis of complex quantitative and qualitative research they concluded that this syndrome consists of such personality traits as: conventionalism, authoritarian submission, authoritarian aggression, anti -intraception, superstition and stereotypy, power and toughness, destructiveness and cynicism, projectivity and sex. It should be noted that although that concept was severely criticized it became an inspiration for different interpretations of authoritarianism in the field of political psychology.
2

K RECEPCI ADORNOVY METODY V AKTUÁLNÍCH PODOBÁCH KRITICKÉ TEORIE

100%
Nový M.
Filozofia (Philosophy)
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2016
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vol. 71
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issue 3
173 – 185
EN
The essay deals with the reception of Adorno’s method in critical theory’s contemporary forms. Firstly, it explores the Marxist methodological root of Adorno’s theorizing in the concept of exchange (Adorno has slightly modified Marx’s argumentation in Capital by focusing on the exchange process rather than on the value-form). Secondly, the essay criticizes Habermas’ and Honneth’s interpretations of Adorno’s approach: both of them are unable to explicate Adorno’s dialectical materialism. That is why in Habermas and Honneth the critical theory collapses into a form of transcendental thought. Thirdly, against Habermas and Honneth, the essay argues that Sohn-Rethel’s critical Marxist proposal to reconstruct critical theory as a dialectical exposition (Darstellung) of capitalism – the historically determinate society premised upon the totality of ‚real abstractions‘ – provides much better initiation to Adorno’s method.
3

ART AND PHILOSOPHY IN ADORNO: THEIR DIFFERENCE AND INSEPARABILITY

88%
Pozo A. G.
Filozofia (Philosophy)
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2012
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vol. 67
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issue 10
819 – 831
EN
Like the aesthetics of Hegel and Heidegger, Adorno’s aesthetics also affirms the philosophical relevance of art. But the peculiarity of the Adornian comprehension of aesthetics is in his defending the separation art and philosophy and at the same times their permanent relationship. They are different but inseparable. Art is relevant to philosophical reflection, while philosophy needs the dialectic discovered in the artistic mimesis.
4
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PRÍRODNÉ KRÁSNO U TH. W. ADORNA: V ZÁVISLOSTI A OPOZÍCII VOČI SVETU PANSTVA

88%
Brezňan P.
ESPES
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2020
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vol. 9
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issue 1
5 - 15
EN
Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the degree of social domination of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. However, at the same time, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty.
5
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RECEPCIA ESTETICKÉHO MYSLENIA THEODORA W. ADORNA V ČESKEJ A SLOVENSKEJ MUZIKOLÓGII V 60. –80. ROKOCH 20. STOROČIA

88%
Fulka V.
ESPES
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2020
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vol. 9
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issue 1
36 - 48
EN
In the1960s, texts by the prominent German philosopher and musicologist Theodor W. Adorno were translated into the Czech and Slovak language. This was only possible due to the more relaxed social and political atmosphere of those years. The translated essays were published in professionally-oriented periodicals. This paper is aimed to map and evaluate the reception of Adorno’s translated works in Czechoslovakia. Although these texts embraced above all Adorno’s work in the sociology of philosophy, aesthetics of literature and musicology, this paper is mainly focused on Adorno’s musicological texts. Albeit mostly regarded as an original and extremely versatile author in Czechoslovakia, Adorno was also criticised on the background of Marxist-Leninist philosophy. In order to evaluate the reception of Adorno’s ideas in the Czech and Slovak environment, it is methodologically necessary to adopt a broader aesthetic-philosophical perspective that enables us to account for Adorno’s endorsement of the Marxist philosophy pursued at Frankfurt School of Philosophy.
6

FILOZOFIA DEJÍN BEZ HISTORICKEJ NEVYHNUTNOSTI (?)

88%
Hohoš L.
Filozofia (Philosophy)
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2016
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vol. 71
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issue 3
186 – 196
EN
In his article the author justifies a critical attitude towards both the Enlightenment concept of progress and the European philosophy of history based on teleology. Adorno’s negative dialectics provides an inspiration in getting rid of the monster of historical necessity in philosophy of history. Adorno’s attitude is overtime due to his using the concept of dominance to anticipate the need to rethink the relation between civilization (culture) and nature. Instead of growth fetishism a new economic paradigm of degrowth is postulated, performed by N. Georgescu-Roegen. The vision of a new civilization is embodied in the vision of a society of sustainable degrowth. This new civilization is able to sustain homeostasis-like negentropia in the form of a feedback through culture.
7
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ADORNO V ČESKOSLOVENSKU: HUDBA, TEÓRIA, ESTETIKA

88%
Fulka V.
ESPES
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2020
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vol. 9
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issue 2
3 – 22
EN
The aim of this paper is to examine how Adorno's aesthetic and musicological thinking was received in Czech and Slovak musicology in the decades between the 60s and the 80s. The focus is on the Czech and Slovak translation of some of Adorno’s musicological treatises and lectures – especially those concerning his views on the Second Vienna School and the musical poetics of its immediate successors – which were published in former Czechoslovakia. The study offers an interesting perspective on Adorno’s relatively unknown lecture Form der neuen Musik (1965) and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] (1966) as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible] (1967). The study also considers other scientific texts by Adorno in relation to the above-mentioned translations of his works. The analysis, reflection, and interpretation of Adorno’s works in former Czechoslovakia, as well as their contemporary reception, turn out to be sporadic in the examined period. The purpose of this research is to revive awareness of their significance and to give a new impulse to their reassessment within the current musicological and philosophical reflection.
8
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ŽIVOTASCHOPNOSŤ JEDNÉHO PRÍSTUPU. POZNÁMKY KU KANTOVSKEJ LÍNII INTERPRETÁCIE KATEGÓRIE VZNEŠENÉHO (POKRAČOVANIE)

88%
Kvokačka A.
ESPES
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2013
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vol. 2
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issue 1
20 – 26
EN
To elaborate the intention of previous contribution, this paper opens again the problem of reception of Kant's definition of the category sublime. Variations which perform Schopenhauer, Nietzsche and Adorno represent some innovative approaches. Bridging the history of this aesthetic category in the 20th century in theirs thinking, represents functionality of the sublime, which we observe through the transformations in artistic and aesthetic discourse and which encourages us to contemporary revaluation of this concept.
9

ETIKA ODVRŽENÉHO A MORÁLKA OBĚTI: K POJETÍ LIDSTVÍ A NELIDSTVÍ U ADORNA, BUTLER A AMÉRYHO

75%
Koubová A.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 7
549 – 557
EN
The article focuses on the investigation of human and inhuman from the non-anthropocentric perspective. It deals with the authors who do not take humanity of human being for granted. These authors describe becoming human as a possible dimension of living experience. The analysis starts with Judith Butler’s “Giving an Account of Oneself” and her interpretation of Adorno´s considerations regarding human and inhuman in his “Minima Moralia” and “Principles of Moral Philosophy”. Butler´s conclusion is that inhuman is not the opposite of human. It is rather the constitutive means of becoming human. The article explores also the connection of Butler’s interpretation to the conception of double morality offered by Friedrich Nietzsche in his “Genealogy of Morals”. Finally, the work of Jean Améry serves to show how Butler’s and Nietzsche’s projects can become even more subtle and differentiated and uncover an unexpected affirmative political strength of the victim.
10

Mimesis, cezura i spekulacja w filozofii T.W. Adorna i P Lacoue- Labarthe`a

75%
Górski J.
Kwartalnik Filozoficzny
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2017
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vol. 45
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issue 4
135-167
EN
The aim of this essay is a better understanding of two crucial 20th century conceptions of mimesis. A comparative analysis will be conducted of, on the one hand, Adorno’s theory of mimesis-construction (Ratio) interrelations in the context of the philosophical and political determinants of 20th century art “after” Auschwitz, and, on the other, of Philippe Lacoue-Labarthe’s critical interpretation of the aforementioned theory. In his aesthetic theory, with its framework of negative dialectics, Adorno uses the idea of mimesis-construction to define and to describe the very profound, fundamental relation between art philosophy and politics, whereas Lacoue-Labarthe – a French poststructuralist from the second half of 20th century – is focusing on the deconstruction of such interplay in the name of the autonomy of art. The common ground for this comparison is provided by Friedrich Hölderlin’s early poetry and his theory of modern tragedy, as well as Walter Benjamin’s idea of das Gedichtete and Martin Heidegger’s thesis on the role of poetry and the figure of the poet. In short, this essay will aim to present Adorno’s theory as worded in his Parataxis in the light of the critique from Lacoue-Labarthe’s essay titled Il faut.
11
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U źródeł krytyki teorii poznania w szkole frankfurckiej

75%
Płotka W.
Filo-Sofija
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2011
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vol. 11
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issue 2-3(13-14)
769-790
EN
The author argues that the Frankfurt School’s critique of phenomenology as the theory of cognition (as defined by Theodore W. Adorno) is unjustified. The article is divided into five main parts. In the first part, historical, as well as theoretical relations between the two philosophical currents are reconstructed. In the second part, Adorno’s critique of the theory of cognition is defined with regard to Husserl’s phenomenology in particular. The third part of the article analyses why Adorno’s critique seems to be unjustified. The author shows that Husserl denied the theses which Adorno criticized. In the fourth part, the author enlarges the argument by showing that Husserl’s critique of scientific rationality is similar with Adorno’s proposition. Nonetheless, in the fifth part the author stresses main differences between the two critiques of rationality. .
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