II.5. Adorno ou la métaphysique de la Catastrophe
Tirvaudey, Robert
II.5. Adorno ou la métaphysique de la Catastrophe - 2017.
92
This article seeks to show how Adorno, one of the first people to conceive the “tear of Auschwitz,” discovered a break in the history of humanity. In order to conceive the Shoah, the metaphysicist suggested that we readjust our concepts and invert our thinking in order to attempt to access the “possible impossibility.” By going back over his thoughts, which reconstructed the intellectual, social, political and cultural context in which the Event arose, we can see how Adorno stood in opposition to Hannah Arendt. We can also see how he brought forth a new hypothesis for understanding the failure of ethics, culture, reason and metaphysics, using a poetic language capable of expressing that which can neither be imagined nor thought nor conceptualized. Is it not the vocation of art to tackle a past that won’t fade into the past but that is never past being relevant? Adorno’s thesis contrasts with those of his contemporaries insofar as he argues that the “calamity” was the result of a three-fold domination : the domination of man over nature, the domination of the technical over human nature and the domination of certain people over others.
II.5. Adorno ou la métaphysique de la Catastrophe - 2017.
92
This article seeks to show how Adorno, one of the first people to conceive the “tear of Auschwitz,” discovered a break in the history of humanity. In order to conceive the Shoah, the metaphysicist suggested that we readjust our concepts and invert our thinking in order to attempt to access the “possible impossibility.” By going back over his thoughts, which reconstructed the intellectual, social, political and cultural context in which the Event arose, we can see how Adorno stood in opposition to Hannah Arendt. We can also see how he brought forth a new hypothesis for understanding the failure of ethics, culture, reason and metaphysics, using a poetic language capable of expressing that which can neither be imagined nor thought nor conceptualized. Is it not the vocation of art to tackle a past that won’t fade into the past but that is never past being relevant? Adorno’s thesis contrasts with those of his contemporaries insofar as he argues that the “calamity” was the result of a three-fold domination : the domination of man over nature, the domination of the technical over human nature and the domination of certain people over others.
Réseaux sociaux