Um Filósofo em Nápoles

by Martin Mittelmeier

No início do século XX, a paisagem romântica do golfo de Nápoles atraía escritores, poetas e filósofos. Figuras como Bertolt Brecht e Maksim Górki e personalidades ligadas à Escola de Frankfurt, como Theodor W. Adorno e Walter Benjamin, afluíam a Capri e Sorrento.

Martin Mittelmeier descreve como a experiência napolitana de Adorno o ajudou a criar as bases do seu pensamento filosófico da maturidade, tendo sido inspirado quer pelo mundo natural quer pelas conversas como intelectuais como Walter Benjamin e Alfred Sohn-Rethel.

A original fusão conseguida por Martin Mittelmeier entre filosofia e relato de viagens aprofunda o nosso conhecimento da intelligentsia europeia do início do século XX e convida-nos a redescobrir um dos pensadores mais influentes da história: Theodor Adorno.

Genres: Philosophy

208 pages, Paperback

First published January 1, 2013

Reviews

[Philippe · Rating 3 out of 5]

This book offered a somewhat frustrating reading experience, as it offered insight and puzzlement in equal measure. Over considerable stretches, I simply did not understand what I was reading. Admittedly, I am hardly initiated into the critical theory of the Frankfurt School, so perhaps the fault lies entirely with me. On the other hand, this book seems to have started life as a doctoral thesis. In general, academic dissertations are not known for having readability by a general readership as their main goal. Further, I still wonder whether the stated ambition of this book - to instruct the reader on how a 'landscape of dreams' turns into philosophy - was a clever marketing trick or really provided the author's analytical framework for his study. Because the main thrust of the book, it seems to me, is to trace Adorno's dependence on (and relationship to) the utopian impulse of the 'critical constellation', as concept and method, through the three main periods of his creative life - before, during and after fascist rule in Germany. The fact that this insight emerged from German intellectual residents' experience of the 'porosity' of Neapolitan urbanity and (much less clear to me) the 'demonic' resonances of the Amalfi coast, is perhaps rather incidental to the book's main narrative thread. In any case, this book is sending me onward in all kinds of philosophical and literary rabbit holes and I suspect that in the long run this will prove to be a good thing. I'm provisionally rating it with 3 stars.

[Olya Grigoreva · Rating 5 out of 5]

Идеальная книга для подготовки к чтению Minima Moralia. Вы узнаете, что такое констелляция и что так привлекало наших друзей Франкфуртской школы в Неаполе (спойлер: там кайфово!)

[erich · Rating 5 out of 5]

адорно на пляже + я на пляже !

[Paulo Brito · Rating 1 out of 5]

Até ao capitulo "Gólgota" ainda encontrei fôlego na obra. A partir daqui algo se perdeu. Foi-se o entusiasmo - puf!

[La Central · Rating 3 out of 5]

"La toba volcánica es un tipo de roca ígnea que, por su ligereza, ductilidad y capacidad de aislamiento, constituye un material de construcción idóneo muy utilizado en el sur de Italia. Al extraerlo del subsuelo para su uso arquitectónico, se generan cavidades aptas para dar sepultura a los muertos. Las canteras napolitanas se convierten así en catacumbas donde el cadáver deviene polvo, y el excedente rocoso resulta materia informe que admite infinitas modulaciones.

En la década de los años veinte, intelectuales, artistas y viajeros posrománticos encontraron en la porosidad geográfica del golfo napolitano la perfecta metáfora de la decadencia del hombre moderno. El influjo de la teoría marxista golpeando los cerebros de Sohn-Rethel, Benjamin y Krakauer, así como la pregnancia de un entorno tan vivo como sepulcral, alimentan las ansias intelectuales de un jovencísimo Adorno, cuya imaginación reflexiva queda colonizada por la artesanía taracea de Sorrento, los demonios de Positano o el acuario de la estación zoológica de Nápoles.

Finalizada la Segunda Guerra Mundial, el recuerdo de Nápoles queda lejano y desteñido, no así su enseñanza terrosa: porque todo es posible, nada es definitivo. " Mónica Herranz