<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1324</journal-id>
<journal-title><![CDATA[Signos filosóficos]]></journal-title>
<abbrev-journal-title><![CDATA[Sig. Fil]]></abbrev-journal-title>
<issn>1665-1324</issn>
<publisher>
<publisher-name><![CDATA[Universidad Autónoma Metropolitana, División de Ciencias Sociales y Humanidades]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-13242021000200090</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La objetivación de lo inobjetivable: convergencia entre arte y filosofía en Teoría Estética de T. W. Adorno]]></article-title>
<article-title xml:lang="en"><![CDATA[The objetivation of the unobjectivable: Convergence between art and philosophy in Aesthetic Theory of T. W. Adorno]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Corona Fernández]]></surname>
<given-names><![CDATA[Javier]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Guanajuato Departamento de Filosofía ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<volume>23</volume>
<numero>46</numero>
<fpage>90</fpage>
<lpage>119</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-13242021000200090&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-13242021000200090&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-13242021000200090&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo analiza las posibilidades actuales de la propuesta de T. W. Adorno en torno a su visión de las relaciones entre el arte y la verdad; para esto se exploran algunos pasajes de Teoría estética (1970), donde plantea dos ideas centrales en su reflexión: por un lado, los contenidos de verdad que se revelan en las obras de arte y, por otro, los alcances de una subjetividad individual que aún puede pensar en las posibilidades de una vida emancipada. Para Adorno, las obras de arte son la expresión de una verdad concebida subjetivamente, pero que excede cualquier intención puramente individual y, como fuerza de resistencia, puede mostrar aquello que escapa a la representación objetiva. De acuerdo con esto, la hipótesis inicial es que, independientemente de la posición o intencionalidad del autor, el arte contribuye al esclarecimiento de diversos fenómenos éticos y políticos debido a la codificación histórica de la forma y, sobre todo, por la autonomía de la obra de arte.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article analyzes the current possibilities of T. W. Adorno&#8217;s proposal regarding his vision of the relationships between art and the truth; for this, some passages of Aesthetic Theory (1970) are explored, in which he raises two central ideas in his reflection: on the one hand, the truth contents that are revealed in the artworks and, on the other, the scopes of an individual subjectivity that can still think about the possibilities of an emancipated life. For Adorno, works of art are the expression of a truth that is subjectively conceived, but that exceed any purely individual intention and, as a force of resistance, can show what escapes objective representation. According to this, the initial hypothesis is that, regardless of the position or intentionality of the author, art contributes to the clarification of various ethical and political phenomena due to the historical codification of form and, above all, by the autonomy of the work of art.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[conocimiento]]></kwd>
<kwd lng="es"><![CDATA[alienación]]></kwd>
<kwd lng="es"><![CDATA[subjetividad]]></kwd>
<kwd lng="es"><![CDATA[emancipación]]></kwd>
<kwd lng="es"><![CDATA[teoría crítica]]></kwd>
<kwd lng="en"><![CDATA[knowledge]]></kwd>
<kwd lng="en"><![CDATA[alienation]]></kwd>
<kwd lng="en"><![CDATA[subjectivity]]></kwd>
<kwd lng="en"><![CDATA[emancipation]]></kwd>
<kwd lng="en"><![CDATA[critical theory]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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