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
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2015
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Universidad Antonio Ruiz de Montoya
Resumen
El tema de investigación de este trabajo es la reconciliación estética como consecuencia del desciframiento del carácter enigmático de la obra de arte en la Teoría Estética de Theodor Adorno. Asimismo, la pregunta gira en torno a examinar en qué medida dicha reconciliación es posible. Por eso, es preciso indicar que tal desciframiento es la solución del carácter enigmático de la obra de arte; esto es, el porqué una obra de arte muestra algo a la vez que lo oculta. No obstante, tal desciframiento es un proceso que implica tres etapas donde será necesario analizar y distinguirlas, ya que, por separado, dan origen a cada uno de los capítulos de este trabajo. Así, en la primera etapa, será oportuno examinar los dos contextos de aparición del enigma. Por un lado, en la ‘teoría crítica’ de la Escuela de Frankfurt. Y, por otro, dentro de las vanguardias artísticas de la primera mitad del siglo XX. Mientras que en la segunda etapa, se estudian dos nociones de mimesis en relación a dos razones que le son inherentes a cada una de estas. En este sentido, la mimesis como adecuación es la manera en cómo se representa fiel e inmediatamente la realidad por medio de la obra de arte. En cambio, la mimesis como razón crítica es la dinámica reflexiva que se establece entre el sujeto y la realidad a través de, por ejemplo, un cuadro. Y con la tercera etapa se busca explicitar el desciframiento del enigma por medio del contenido de verdad de las obras de arte, el cual es entendido en un sentido estético; es decir, un proceder donde conjugan tanto la reflexión filosófica (por medio de conceptos) y la percepción artística (el primer contacto por medio de los sentidos) para configurar una verdad de índole crítica frente al caosmoderno.
Finalmente, al descifrar el enigma, al hallarle una solución, se da una consecuencia, que se desprende del proceso antes descrito, a través de la reconciliación estética; es decir, se da la posibilidad de una convivencia entre la relación sujeto-objeto que se establece de forma dinámica, aunque cada cual va manteniendo sus propias particularidades y características. Y donde dicha reconciliación genere el desarrollo de una utopía negativa que implique un primer distanciamiento de la realidad, de donde surge, para volver a ella de manera crítica (y, por tanto, estética), optando por la posibilidad de una convivencia donde no exista la objetividad ni la subjetividad como tal, sino una constante tensión –dialéctica- entre el sujeto y el objeto.
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.
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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Palabras clave
Adorno, Theodor W., 1903-1969, Arte, Filosofía, Estética
Citación
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 [Tesis de pregrado, Universidad Antonio Ruiz de Montoya]. Repositorio Institucional UARM. http://hdl.handle.net/20.500.12833/14