AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: ELETTRA VILLANI.
DOI: 10.24193/subbphil.2023.sp.iss.05
Available online 2023-11-23
pp. 75-87
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ABSTRACT. In this paper, my purpose is to take into serious consideration Adorno’s explicit conception of the artwork as a force field. With this expression he intends to emphasize the inner constitution of the artwork as a movement of antagonistic tensions, a dynamic of elements that are not simply juxtaposed, but dialectically interacting with one another. In a similar configuration, the aesthetic experience of the artwork consists in letting their friction explode to its extreme, achieving a balance which remains nevertheless substantially precarious and inconclusive, ready to be immediately set in motion again. Thanks to the aesthetic trait of the force field, these tensions are brought to unity in a way that it does not suppress the enactment of antagonisms, but keeps their multiplicity alive: Homer’s tale of Penelope as an allegory of art.
Keywords: Adorno – force field – antagonisms
