O primado do corpo a partir da filosofia de Theodor W.Adorno

Abstract

The subject of this work is the concept of body presents on Theodor Wiesengrund Adorno’s german philosopher. The aim was to demonstrate the necessity of comprehension and conceptual approximation between, the nature, subject and object as well as the non-identity notion, for understanding what concept or concepts of the body we can find on Adorno’s thought, and for beyond that, including a present thinking that includes a part of contemporary art. Another target was to show, considering an evident importance of multidisciplinary reflections about the body, the current critical Adorno’s thought and his powerful related to general topic of the body as far as we try to find to sustain moments of centrality of this concept in the general scope of the Adorno’s materialism. For this, beyond the important themes like technical domination of nature, suffering, mimesis, and the dialectic of subject and object, we try to reconsider these notions to contribute for understanding of body concept, in versions Körper and Leib, considering that an buoyancy of those concepts related to the body could be found in Adorno’s philosophy. This reorientation having the body in the center of analyses, required, first of all, that we tried of the concept of nature in a perspective less than a history denunciation of violence and domination, and more in an epistemic and ontological view. The next chapter is about subject, object and body and then, in the third moment we presented under the light of the previous discussions, some reflections about part of contemporary art that we consider having essentially body core. The notion of non-identity showed up adherent and enlightening to understanding how Adorno thinks in his written the concept of nature, as well as, some aspects about the dialectic of subject - object, and consequently, the body concept. Finally, between the chapters we have two excursus: the first, is about the concept of the death and the second about the concept of mimesis. Both are experiences derived from the reflexive flow of this work without, however, presenting themselves as indispensable to its structure.