Da reflexão adorniana a uma sociedade da excitação

• Ano de defesa: 2018
• Autor(a) principal: Calegaro, Roberson Sidnei
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Instituto de Ciências Humanas e Sociais (ICHS); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Filosofia
• Palavras-chave em Português: Adorno; Horkheimer; Teoria crítica; Indústria cultural; Semiformação; Sensações; Christoph Türcke; Sociedade de estímulos; CNPQ::CIENCIAS HUMANAS::FILOSOFIA; Critical theory; Cultural industry; Semiformation; Sensations; Society of stimuli
• Link de acesso: http://ri.ufmt.br/handle/1/3829

The purpose of this study was to discuss Adorno’s considerations about the cultural industry and its implications in relation to one’s constitution and formation, which resulted in a society projected to the stimulus of the sensations. The trajectory projected itself in three steps, firstly analyzing Adorno and Horkheimer’s observations from their shared work entitled ‘Dialectic of Enlightenment’, in which the main notions relative to the process by them criticized are outlined, such as the production of cultural goods destined to the masses, the padronized character of those merchandises, the supposed necessity of the consumers in owning aforementioned products, the false mimesis realized by the cultural industry and, with that, the difficulty of resistance before this domination. In the secong chapter, the discussion dwelt upon Adorno’s critique of the cultural industry from the perspective of the work named ‘Theory of Semi-Formation’, highlightening his analisis to the presentation of the problem, the fragmentation of the culture and the perspective of the difficulty of realizing true experiences and, at the same time, of keeping a relation mediated with the culture as well as with the works of art. In the third step, the analisis, in dialogue with the work “Excited Society”, from Christoph Türcke, glimpsed to comprehend how the cultural industry’s schemes inserted themselves in the lives of the individuals, grounding themselves in the sensorial elements. Stemming from an objective reason, the society identified itlself, as a consequence, with the stimuli of the sensations, which aim, lato sensu, at the same time the continuity of the process of domination, inherent of the project of enlightenment in its instrumental dimension, which started to rule the sphere of the subjective and the personal, also converting life in a process of fragmentation that corresponds the objective tendency of the society.