BETWEEN ADAPTATION AND EMANCIPATION: THE VARIATIONS ON THE CONCEPT OF MIMESIS IN THEODOR W. ADORNO'S WORK
mimesis; emancipation; cultural criticism
This study aims to understand how the concept of mimesis relates simultaneously to both forms of domination and emancipatory aspects present in the cultural criticism writings of Theodor W. Adorno (1903–1969). To this extent, the development of the concept is traced alongside the chronology of his work, in order to elucidate both meanings associated with the concept: namely, the adaptive aspect that links it to forms of domination, and, furthermore, the possibility of establishing other modes of relating to objects—its emancipatory aspect. The research hypothesis proposes that the concept of mimesis contains an immanent dialectical contradiction throughout the philosopher’s work, with a greater emphasis on the emancipatory aspect in his later work. Because it possesses this ambivalent aspect, this concept is a key element in the cultural analyses conducted by Theodor W. Adorno. The evolution of the concept will be traced through a review of the literature, proposing a thematic selection of cultural criticism essays written both in the 1940s and in the 1950s and 1960s. These essays will be divided into two distinct periods of his work, culminating in four chapters of the thesis. The first period corresponds to Adorno’s cultural analyses during the 1940s, aiming to highlight an incipient elaboration of the concept of mimesis already present in Current of Music. This preliminary analysis leads to a further development of the concept from the perspective of Dialectic of Enlightenment. The second part of this sample of texts focuses on the cultural criticism essays from Adorno’s later work, in which the concept of mimesis takes on greater prominence in relation to forms of emancipation through aesthetics.