Grammar of the work of art in Merleau-Ponty and Adorno

Abstract

We propose to interpret the immanent
logic of works of art, which for both Merleau-
Ponty and Adorno constitutes its essential
feature, as a grammar, in the sense
of its own system of signs. We will show
that what is proper to this grammar, as a
language that resists objectification, conceptualization,
consists in the reciprocal
–dialectical– intertwining of what has
been said, fixed in concepts, and what
has not yet been expressed, what remains
to be said. The text goes as follows: 1.
Introduction; 2. Grammar of expression
and 3. Grammar of resistance.