No encalço da originalidade: aproximações e divergências entre Adorno e os românticos

Abstract

The main objective of this paper is to demonstrate how the philosophy of art of Adorno, and more specifically its concept and appreciation of the artistic nominalism, comes from the way the philosopher, from the dialectical tradition, dialogues with themes found in romanticism, such as genius and original. The fact that he belongs to Hegelian-Marxist tradition is therefore essential to understand his optimistic view about the avant-garde art and its appreciation of the growing nominalism of works of art derived from their autonomy and formal specificity.