Vol. 3 No. 2 (2010): Costellazioni tempestive. Warburg- Adorno-Benjamin, Adorno
Benjamin, Adorno e la “fisiognomica”
Published May 15, 2012
How to Cite
Gurisatti, G. (2012). Benjamin, Adorno e la “fisiognomica”. Aisthesis. Pratiche, Linguaggi E Saperi dell’estetico, 3(2). https://doi.org/10.13128/Aisthesis-11019
AbstractThis study points out the methodological centrality assumed by the notion of “physiognomy”, both in Benjamin and in Adorno, namely the idea that the forms of the works of art, and generally those of the visual phenomena, are direct “expression”, in a micro-monadological way, of an historical-social sense, not otherwise attainable. On the one hand Benjamin’s physiognomy shows a particular interpretative “openness” to its objects, on the other that of Adorno remains subjected to an epistemological model of “totality”, from the Hegelian-Marxian tradition, which risks compromising the hermeneutic efficacy of its own original philosophical approach.
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