Max Weber and Adorno on the concept of progress
contrasts of technical rationalization in music and painting
DOI:
https://doi.org/10.1590/0101-3173.2020.v43esp.23.p317Keywords:
Adorno, Max Weber, Progress, Music, AestheticsAbstract
Abstract: This review will develop a theme from the theoretical contrast between Max Weber and Adorno approach of the concept of “progress”, read by their discussions on, respectively, “The Meaning of Wertfreiheit in Sociology and Economics” (1917) and “Fortschritt”, (Progress, 1962). After establishing a comparison between both writings and their theoretical tools, we shall identify the differences in resources by the critical and traditional theory elements. The opposition shall become more distinctly as the comparison reach the historical examples from their readings on Art History. Weber has employed a general bias to equate musical productions and painting, as Adorno, on the other hand, forecast something quite different as he followed the same guideline, the technical progress.
Keywords: Adorno; Max Weber; Progress; Aesthetic; Music.
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References
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Recebido: 25/10/2019 - Aceito: 17/02/2020
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