<?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>0121-3628</journal-id>
<journal-title><![CDATA[Estudios de Filosofía]]></journal-title>
<abbrev-journal-title><![CDATA[Estud.filos]]></abbrev-journal-title>
<issn>0121-3628</issn>
<publisher>
<publisher-name><![CDATA[Instituto de Filosofía, Universidad de Antioquia.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-36282023000200045</article-id>
<article-id pub-id-type="doi">10.17533/udea.ef.352183</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Espacialización revisitada: caracterización y contradicciones del tipo extensivo en Theodor W. Adorno]]></article-title>
<article-title xml:lang="en"><![CDATA[The Spacialization Revisited: Extensive Type&#8217;s Characterization and Contradictions in Theodor W. Adorno]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Andrade]]></surname>
<given-names><![CDATA[João Paulo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Estadual de Campinas  ]]></institution>
<addr-line><![CDATA[Campinas ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<numero>68</numero>
<fpage>45</fpage>
<lpage>61</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-36282023000200045&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-36282023000200045&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-36282023000200045&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen La publicación de los escritos póstumos de Theodor W. Adorno provocó un giro notable en su filosofía de la música: al revelarse el ambicioso proyecto sobre Beethoven, surgió una teoría del tiempo musical de carácter casi axiomático, y que parece incluso orientar la reflexión adorniana en obras y textos importantes, tales como Filosofía de la nueva música. Esbozada en tres tipos de configuración del tiempo musical, esa teoría sorprende al tratar el denominado &#8220;tipo extensivo&#8221;. Adorno pasaría entonces a admitir modos de consistencia formal (Stimmigkeit) que no se restringen al llamado ideal de desarrollo (Entwicklung), asumiendo la posibilidad de una espacialización no regresiva que contrastaría con su propia definición ontológica del medio. El presente artículo aborda las contradicciones del tipo extensivo, ofreciendo un análisis pormenorizado del Trío al Archiduque op. 97 ante el conocido parentesco originario entre Beethoven y Hegel. Finalmente, el texto presenta los medios y motivos por los cuales el tipo extensivo conduciría a la última y más decisiva modalidad de configuración del tiempo musical en Adorno, el estilo tardío.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract As Adorno&#8217;s posthumous writings were released, a notable turn in his phi losophy of music became noteworthy: by revealing an ambitious project on Beethoven, a quasi-axiomatic theory of musical time emerged, which seems to guide Adornian thought at very significant works and texts, as Philosophy of New Music. Sketched in three configuration types of musical time, this theory surprises with the so-called &#8220;ex- tensive type&#8221;. Adorno would then admit kinds of formal consistency (Stimmigkeit) that are not restricted to the ideal of development (Entwicklung) and assumes the possibility of a non-regressive spatialization, which contrasts with his own ontological definition of the medium. This paper discusses the contradictions of extensive type by presenting an analysis of the Archduke Trio op. 97, in the light of the well-known originary affinity between Beethoven and Hegel. At last, the text presents by which means and for what reasons the extensive type would lead Adorno to the last and most decisive modality of musical time&#8217;s configuration, the late style.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Theodor W. Adorno]]></kwd>
<kwd lng="es"><![CDATA[Beethoven]]></kwd>
<kwd lng="es"><![CDATA[tiempo musical]]></kwd>
<kwd lng="es"><![CDATA[tipo extensivo]]></kwd>
<kwd lng="es"><![CDATA[espacialización]]></kwd>
<kwd lng="en"><![CDATA[Theodor W. Adorno]]></kwd>
<kwd lng="en"><![CDATA[Beethoven]]></kwd>
<kwd lng="en"><![CDATA[musical time]]></kwd>
<kwd lng="en"><![CDATA[extensive type]]></kwd>
<kwd lng="en"><![CDATA[spacialization]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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