A música da nova filosofia: para ouvir o projeto filosófico-epistemológico de Adorno

• Ano de defesa: 2011
• Autor(a) principal: Pombo, Rafael Reis
• Orientador(a): Silva, Rafael Cordeiro
• Banca de defesa: Gomide, Ana Paula de ávila , Silva, Eduardo Soares Neves
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia
• Programa de Pós-Graduação: Programa de Pós-graduação em Filosofia
• Departamento: Ciências Humanas
• País: BR
• Palavras-chave em Português: Epistemologia; Linguagem; Lógica; Arte; Música; Atonalismo; Adorno, Theodor W., 1903-1969 - Crítica e interpretação; Filosofia moderna - Séc. XX; Música - Filosofia e estética
• Palavras-chave em Inglês: Epistemology; Language; Logic; Art; Music; Atonalism
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::FILOSOFIA
• Link de acesso: https://repositorio.ufu.br/handle/123456789/15547

The Adorno s philosophy makes its way out of the tradition since the starting point, since the relationship between thought and reality that outlines. As a consequence, differentiates itself from this tradition by its way to consider the constitution of the reality, by the new cognitive procedures that uses, by the linguistic treatment required for the expression of them and, at last, by the approximation to the discourse of art, more specifically to the atonal music. At the same time, Adorno refuses and denounces the pretension of a total knowledge, the imposition of a rational order to reality, the procedure of abstraction as a tool of the identity thinking, the textual form of the philosophic treatise with its systematic configuration, the making of an absolute logic and the scientific inspiration of the tradition. This text is an attempt to reproduce this itinerary of Adorno and its concomitant critique to the traditional philosophic projects. With this, shows the reasons of the propagated similarity between Adorno s philosophy and Schoenberg s music, or, in other words, presents the origins of the need to approximate the philosophic discourse to the discourse of music.