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dc.contributor.advisorMacdonald, Iain
dc.contributor.authorDolgoy, Rebecca C.
dc.date.accessioned2012-02-28T16:33:57Z
dc.date.availableNO_RESTRICTIONen
dc.date.available2012-02-28T16:33:57Z
dc.date.issued2012-02-02
dc.date.submitted2011-09
dc.identifier.urihttp://hdl.handle.net/1866/6228
dc.subjectAdornoen
dc.subjectmémoireen
dc.subjectoeuvre d'arten
dc.subjectdialectiqueen
dc.subjectsursomptionen
dc.subjectphilosophie allemande du 20e siècleen
dc.subjectinterprétationen
dc.subjectZeitkernen
dc.subjectAdornoen
dc.subjectmemoryen
dc.subjectartworken
dc.subjectdialecticsen
dc.subjectsublationen
dc.subject20th century German philosophyen
dc.subjectinterpretationen
dc.subjectZeitkernen
dc.subject.otherPhilosophy / Philosophie (UMI : 0422)en
dc.titleBetween truth and traume : the work of art and memory in Adornoen
dc.typeThèse ou mémoire / Thesis or Dissertation
etd.degree.disciplinePhilosophieen
etd.degree.grantorUniversité de Montréalfr
etd.degree.levelMaîtrise / Master'sen
etd.degree.nameM.A.en
dcterms.abstractEn analysant les processus dialectiques par lesquels l’art repense le passé, Between Truth and Trauma : The Work of Art and Memory work in Adorno traite du concept adornien de la mémoire. Je postule que l’œuvre d’art chez Adorno incarne un Zeitkern (noyau temporel). Je démontrerai que l’immanence réciproque de l’histoire dans l’œuvre d’art et l’immanence de l’œuvre d’art dans l’histoire permettent de repenser le passé. Le premier chapitre examine la manière par laquelle le passé est préservé et nié par l’œuvre d’art. Le deuxième chapitre montre comment, à l’aide du processus interprétatif, le passé est transcendé à travers l’œuvre d’art. Le dernier chapitre évoque la lecture adornienne d’écrits de Brecht et de Beckett dans le but d’illustrer la capacité de l’œuvre d’art à naviguer entre la vérité et le trauma.en
dcterms.abstractAnalyzing the dialectical processes through which art works through the past, Between Truth and Trauma: The Work of Art and Memory in Adorno examines Adorno’s concept of memory. I argue that, for Adorno, the work of art both has and is a Zeitkern (temporal nucleus). I demonstrate that the reciprocal immanence of history in the work and immanence of the work in history allows for the past to be worked through. The first chapter examines how the past is preserved and negated by the work of art. The second chapter examines how the past is transcended through the work of art via the interpretive process. The final chapter looks at Adorno’s reading of work by Beckett and Brecht in order to illustrate the ability of the work of art to navigate between truth and trauma.en
dcterms.languageengen


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