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Lino, Alice de Carvalho. "Belo e sublime : a mulher e o homem na filosofia de Immanuel Kant." Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto, 2008. http://www.repositorio.ufop.br/handle/123456789/2544.
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Kangussu, Imaculada
A dissertação tem como objetivo apresentar a mulher, conforme caracterizada por Immanuel Kant. Houve uma preocupação em tratar o tema, considerando a época dos escritos e as perspectivas empregadas em cada obra que faz menção às mulheres. E, principalmente, manteve-se na investigação um olhar neutro, afastado de qualquer ressentimento que se pudesse ter com relação às críticas dirigidas à condição feminina. Assim, entendemos que as conclusões provindas desta análise seriam mais coerentes, por serem justificáveis a partir dos próprios argumentos kantianos. A mulher, na obra Observações sobre o sentimento do belo e do sublime (1764), é representada através das qualidades originárias do sentimento do belo. São estas: honestidade, piedade, compaixão e solicitude. A simplicidade e a ingenuidade determinam a modéstia e, assim, têm-se garantidos a benevolência e o respeito para com os outros. Já sensibilidade e a vaidade são consideradas pelo filósofo como debilidades. O sexo masculino é considerado sob os aspectos do sentimento sublime. Cabe mencionar que ao determinar a mulher através do sentimento do belo, Kant pretende distinguir o sexo, através da atribuição de especificidades próprias deste, mas isso não impedirá que tais designações sejam encontradas também no sexo sublime, e vice e versa. Ainda nas Observações, Kant argumenta que o refinamento do gosto feminino dá-se através das sensações. Para ele era difícil acreditar que a mulher seria capaz de nortear-se segundo princípios, mas com isso não esperava ofendê-la, pois princípios também não eram facilmente encontrados no sexo masculino. Somente na teoria moral kantiana, a mulher pode ser considerada apta para o exercício racional capaz de conduzir à moralidade. Justamente, porque tais escritos sustentam-se sobre preceitos estabelecidos a priori, ou seja, não se encontram no âmbito da experiência. Tal discurso direciona-se ao sujeito transcendental, àquele considerado somente sobre o aspecto da racionalidade. Logo, a teoria moral revela-se independente do gênero. Contudo, sob esta mesma perspectiva, Kant preocupou-se em discorrer sobre o matrimônio. O que o conduzirá a uma contradição, a saber, se a liberdade é considerada um direito nato, porque negá-la à mulher casada? _______________________________________________________________________________________________________________________________________ ABSTRACT: The dissertation has as objective to present the woman, as characterized by Immanuel Kant. There was a concern in treat the subject, considering the time of the writings and perspectives employed in each work that refers to women. In addition, mainly, the research kept a neutral look, away from any resentment that could be concerning the criticisms directed at the female condition. Thus, we believe that the conclusions of this analysis would be more consistent, because it is justifiable from Kantian own arguments. The woman, in Observations on the feeling of the beautiful and sublime (1764), is represented by the qualities from the feeling of beauty. These are honesty, mercy, compassion and solicitude. The simplicity and ingenuousness determine the modesty and thus has been guaranteed the kindness and respect for others. The sensitivity and vanity are considered by the philosopher as weaknesses. The male is considered under the aspects of the sublime feeling. In determining the woman through the feeling of beauty, Kant wants to distinguish the sex by attribution of specifics characteristics, but this will not impede that such designations are also found in the sublime sex, and vice versa. On Observations, Kant argues that the refinement of female taste happens through the sensations. For him, was hard to believe that a woman would be able to govern in accordance to principles, but with this, he does not expect to offend her, because principles were also not easily found in males. Only in the Kantian moral theory, a woman can be considered fit for the rational exercise capable to lead to morality. Precisely because such written sustain itself on principles established a priori, that is, are not to be found in the experience area. Such speech directs to the transcendental individual, which is considered only by the rationality aspect. Therefore, the moral theory it is regardless of gender. However, under this same perspective, Kant worried himself to talk about the marriage. This will lead him to a contradiction, namely, if freedom is considered a native right, why deny it to the married women?
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SOUSA, Jeandersonn Pereira de. "O belo e o sublime em Kant nas fases pré-critica e crítica: ruptura ou continuidade?" Universidade Federal do Pará, 2017. http://repositorio.ufpa.br/jspui/handle/2011/8827.
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O objetivo deste estudo é investigar os conceitos do belo e do sublime em Kant por meio do confronto entre duas obras da sua filosofia estética: uma do período pré-crítico, as Observações sobre o sentimento do belo e do sublime de 1764, e a outra do período crítico, a Crítica da Faculdade de Julgar de 1790. A questão central que se pretende investigar nesta pesquisa é a seguinte: há ruptura ou continuidade conceitual na reflexão de Kant sobre o belo e o sublime nestas duas obras pertencentes a períodos distintos da sua filosofia? O caminho seguido para esclarecer este problema foi dividido em três etapas: 1) analisar e discutir como os conceitos do belo e do sublime se constituem na obra da fase pré-crítica; 2) examinar e dissertar como os conceitos do belo e do sublime se constituem na obra da fase crítica; 3) Identificar e apresentar, as semelhanças e as dessemelhanças, no tratamento da matéria nas duas obras em particular. Ao final deste estudo, defender-se-á aqui a tese de que, apesar da subjetividade aparecer no primeiro escrito e ser parte essencial no segundo escrito, por caracterizar o fundamento de determinação no sujeito por meio do sentimento de prazer e desprazer, o cotejo entre os dois escritos considera haver uma ruptura, muito mais que uma continuidade, no modo de Kant pensar os conceitos do belo e do sublime nas referidas obras.
The objective of this study is to investigate the concepts of the Beautiful and the Sublime in Kant by means of the confrontation between two works of his aesthetic philosophy: one of the pre-Critical period, the Observations on the Feeling of the Beautiful and the Sublime of 1764, and the other of the Critical period, the Critique of the Faculty of Judge of 1790. The central question to be investigated in this research is the following: there is rupture or conceptual continuity in Kant's reflection on the beautiful and the sublime in these two works belonging to distinct periods of his philosophy? The path followed to clarify this problem was divided into three stages: 1) to analyze and discuss how the concepts of the beautiful and the sublime constitute the work of the pre-critical phase; 2) to examine and to discuss how the concepts of the beautiful and the sublime constitute the work of the critical phase; 3) Identify and present, the similarities and dissimilarities, in the treatment of matter in the two works in particular. At the end of this study, the thesis will be defended that, despite subjectivity appearing in the first writing and being an essential part of the second writing, because it characterizes the ground of determination in the subject through the feeling of pleasure and displeasure, the comparison Between the two writings he considers that there is a rupture, much more than a continuity, in Kant's way of thinking the concepts of the beautiful and the sublime in the said works.
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Escobar, Cabello Lidia. "La estética de lo trágico: Los juicios de lo Bello y de lo Sublime: (Una aproximación a las reflexiones filosóficas de la estética nietzscheana a partir de la kantiana)." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110441.
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Pérez, Roger. "The Appearing of the Sublime: the Recovery of the Sublime in Nature through Art." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/119576.
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The Kantian interpretation of the sublime proposes in its assessment a predominant place to the contemplation of nature. Contemporary interpretations, on the other hand, focus their attention upon the capacity of art as a de-structuralizing element, in order to give an account of a historical development of the arts in the way of the sublime. The present paper holds that, since Martin Seel’s Aesthetics of Appearing, it is possible to link both approaches by means of an existential interpretation of the experience of the sublime that stresses the role of time, and thus recovers the experience of the natural sublime in the absence of a super-sensible foundation.La interpretación kantiana de lo sublime propone en su enjuiciamiento un lugar preponderante a la contemplación de la naturaleza. Las interpretaciones contemporáneas, por su parte, fijan su atención en la capacidad del arte como elemento desestructurante, a fin de dar cuenta de un desarrollo histórico de las artes en la vía de lo sublime. El presente trabajo sostiene que, desde la Estética del aparecer de Martin Seel, es posible vincular ambas lecturas a través de una interpretación existencial de la experiencia de lo sublime que enfatice el rol del tiempo y recuperar así la experiencia de lo sublime natural en ausencia de un fundamento suprasensible.
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Lino, Alice de Carvalho. "Kant e a crítica de arte." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-06102015-141545/.
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Afirmamos na presente tese a coerência e relevância de se utilizar a estética kantiana na crítica da dita arte moderna e contemporânea. Nos capítulos seguintes, mediante as críticas de Greenberg, De Duve, Lyotard e Mario Costa, evidenciamos a utilidade dos juízos de gosto e do sublime de Kant para se pensar a fruição de certas obras. Alteram-se alguns aspectos dos conceitos kantianos para uma melhor adaptação dos mesmos às obras e à cultura do século XX. De todo modo, nos exemplos observados na tese fica evidente a contribuição de Kant para se pensar a fruição da arte moderna e contemporânea, na medida em que o juízo de reflexão mobiliza as nossas faculdades cognitivas na determinação do comprazimento e do conhecimento geral a partir das obras de arte observadas.We affirm in this thesis the coherence and relevance of using Kantian aesthetics in the critique of said modern and contemporary art. In the following chapters, we have evidenced the utility of the Kant´s judgments of taste and the sublime through the criticisms of Greenberg, De Duve, Lyotard and Mario Costa, to consider the fruition of certain works. It has been verified during the research, that changes in some aspects of Kantian concepts have been made in order to better adapt them to the works and twentieth century culture. In any case, by the examples observed in the thesis, Kants contribution is evident in considering the fruition of modern and contemporary art that the judgment of reflection mobilizes our cognitive faculties both when determining enjoyment as well as general knowledge from works of art.
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Luna, Málaga Natasha. "Antagonismo e inadecuación : la experiencia de lo sublime según Kant." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2008. http://tesis.pucp.edu.pe/repositorio/handle/123456789/687.
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Matosinhos, Lucas Drumond. "Ondulações do devaneio: a criação sublime entre Kant e Baudelaire." Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/ECAP-9LKL84.
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Cette thèse est consacrée à létude du sublime liée au thème de la création artistique chez Kant et chez Baudelaire. Le but principal de ce travail cest danalyser quelques réflexions théoriques de Baudelaire à la lumière de la dynamique créée par la philosophie kantienne entre le beau et le sublime, en particulier, et entre les facultés de la connaissance, en général. Ayant comme point de départ la lecture de certains essais critiques du poète, on a cherché, dune part, à les mettre en rapport avec la tradition française du sublime, et dautre part, à établir un dialogue entre ces textes et quelques conceptions de Kant, trouvées surtout dans la Critique de la faculté de juger et dans Lanthropologie au point de vue pragmatique. Grâce à une interprétation de la philosophie esthétique kantienne qui en général sest inspirée de la lecture de quelques textes de Friedrich Schiller, Martin Heidegger et dune petite partie de la philosophie française de la seconde moitié du si cle, il a été possible didentifier et danalyser des affinités entre le philosophe et le poète sous la portée du sublime, particulièrement en ce qui concerne les rôles joués par la sensibilité, par limagination et par la nature dans la création artistique.Esta tese se dedica ao estudo do sublime em Kant e em Baudelaire vinculado, principalmente, ao tema da criação artística. O trabalho tem como principal objetivo a análise de algumas reflexões "teóricas" de Baudelaire utilizando como contraponto a dinâmica estabelecida pela filosofia kantiana entre o belo e o sublime, de maneira específica, e entre as faculdades do conhecimento, de forma geral. A partir da leitura de alguns ensaios críticos do poeta, procurou-se, de um lado, relacioná-los com a "tradição francesa" do sublime e, de outro, estabelecer um diálogo entre esses textos e algumas concepções de Kant que se encontram, sobretudo, na Crítica da Faculdade do Juízo e na Antropologia de um ponto de vista pragmático. Partindo de uma interpretação da filosofia estética kantiana inspirada, de modo geral, pelas leituras de alguns textos de Friedrich Schiller, Martin Heidegger e de uma pequena parte da filosofia francesa da segunda metade do século XX, foi possível identificar e analisar algumas afinidades entre o filósofo e o poeta - sobretudo no que diz respeito aos papéis desempenhados pela sensibilidade, pela imaginação e pela natureza na criação artística - no âmbito das discussões sobre o sublime.
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Cortés, Ivani Rocío. "La muerte como objeto de lo sublime." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/110134.
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Sousa, João Gabriel Neves. "Belo, sublime e grotesco: a linguagem estética e o sujeito da psicanálise." reponame:Repositório Institucional da UNISUL, 2018. http://www.riuni.unisul.br/handle/12345/5784.
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Este texto propõe uma pesquisa que articula teoria estética e psicanálise. Especificamente, no recorte proposto, nos ocupamos das teorizações sobre as categorias estéticas do belo, do sublime e do grotesco, como discursividades a serem analisadas para tratar das relações que o sujeito estabelece com a arte. Reconhecendo, para além da validade desses conceitos, um caráter mitológico dessas formas de conceber os objetos artísticos, as categorias estéticas serão relacionadas com o sujeito da psicanálise. Dessa forma, procuramos desenvolver um argumento teórico que reconhece no belo, no sublime e no grotesco, formas de relação específicas do sujeito com sua condição faltosa.
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Arancibia, Romero José Miguel. "La dobre circunscripción de lo sublime a partir de Kant y Büchner." Tesis, Universidad de Chile, 2005. http://repositorio.uchile.cl/handle/2250/108845.
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Guo, Youle. "Kant's Conception of Life in the Critique of Judgment: Unity and Boundary." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108727.
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Thesis advisor: Susan Meld ShellThesis advisor: Nasser Behnegar
Kant’s conception of life is indispensable for understanding Kant’s aesthetics and could illustrate the underlying thread as well as the overall theme of the third Critique. Kant characterizes the principle of life with a power for self-action and self-determination, and this principle could be regarded as a special kind of causality or the third mode of determination. First, in Kant’s theory of the judgment of taste, his conception of life furnishes the judging subject’s transcendental aesthetic operation with a special internal causality, the causality, as Kant depicts, of lingering. Second, for Kant’s thoughts on beautiful art the notion of life, and its cognates as well, also bears those rich and concrete implications that would show how the principle of life, by which the mind is swinging, would manifest a basis for the unity of the self with the nature in the subjective condition of a creative artistic genius. Third, the judgment of the sublime as Kant develops runs into a moment of abruption of life, and by tracing the occurrence of this moment the light could thus be shed on the true condition of the unity, and the boundary as well, that is proper to the peculiar human way of living. By interpreting Kant’s conception and principle of life in such a way, I shall venture to show how the meaning of life, or indeed the meaning behind the peculiar condition of human life, is set out to show itself through the elaboration of the final completion of Kant’s critical enterprise
Thesis (MA) — Boston College, 2020
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Political Science
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Sossi, Federica. "L'angoisse et le sublime : la question de l'objet chez Freud, Heidegger et Kant." Paris 8, 1994. http://www.theses.fr/1994PA080941.
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Le but de cette these est d'interroger le probleme de l'objet a partir du sentiment de l'angoisse. Ce probleme est pose a partir des textes des trois auteurs qui ont analyse un sentiment de rien ou un sentiment dans l'absence de l'objet : les textes de freud et de heidegger, ou la difference entre l'angoisse et la peur est jouee sur l'absence de l'objet dan s l'angoisse, et la critique de la faculte de juger de kant, ou kant affirme que ce n'est que par erreur qu'on nomme sublime l'objet. La premiere partie cherche a decrire une oscillation entre la presence ou l'absence de l'objet dans les deux theories de l'angoisse esquissees par freud. On distingue ainsi une necessite de defense theorique face a un sentiment par lequel le sujet est expose a la puissance d'un objet qui n'est plus seulement au dehors. On analyse ensuite les textes de kant et de heidegger en retrouvant la meme ambiguite. La deuxieme partie pose la meme question, mais a partir des autres noeuds theoriques lies a ce probleme : l'etre-au-monde ou dans la nature - le probleme donc de l'habiter -, le lien entre le voir et l'ecouter, et le probleme du langage figure de l'oeuvre d'art ou du beauThe aim of this thesis is to examine the problem of the object in relation to the state of anxiety. The problem is posed using the texts of thte the three authors who have analysed a feeling of nothing, or a feeling in the absence of any object : those texts by freud and heidegger, in which the difference between anxiety and fear is constructed around the absence of th object in anxiety, and kant's third critique, where kant claims that it is only by error that we refer to the two theories of anxiety sketched out by freud. Here, we can discern the need for a theoretical defence in the fac e of a feeling in which the subject is exposed to the power of an object which is no longer only outside the subject. There follows an analysis of the texts by kant and heidegger, in which i detect the same ambiguity. The second section a pproaches the same question, but this time from the other theoretical angles inherent in this problematic : being-in-the -world or in nature, - the problem of dwelling -, the realtionship between seeing and listening, and the problem of the figurative language of the work of art, that is, beauty
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Santos, Murilo Alexandre dos. "Estética e missão: o belo como estratégia de evangelização para os Arautos do Evangelho." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/1931.
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We have displayed the roots from which the Arautos do Evangelho originated and also their initial mission and deeds, their charisma and its presence within the spectrum of contemporary Catholicism and their processes of expansion. We continue by investigating the sense of aesthetics, beautiful and sublime, as well as the reception and practical experience of the Arautos when it comes to the concepts above stated. We want to display the mission and the evangelization inside the Catholic Church and the Arautos do Evangelho as well. We were guided by the hypothesis that the aesthetics, the beauty and the sublime constitute the core of the evangelization mission carried out by the Arautos and it, simultaneously, portrays functional sense aimed at a restorative evangelization to attract former churchgoers and to retrieve the conservative aspects of the Catholicism. The origin, the charisma and the presence of the Arautos inside the spectrum of the contemporary Catholicism were displayed; the general concepts of aesthetics, beauty and sublime and regarding the understanding of the Arautos and in their evangelizing action
Expusemos as raízes de onde surgiram os Arautos do Evangelho e a que vieram, o carisma e a presença dele no espectro do catolicismo contemporâneo e também como se expandiram. Passamos a investigar o sentido da estética, belo e sublime e a recepção e vivencia dos Arautos relativas a esses conceitos. Buscamos expor a missão e a evangelização na Igreja Católica e nos Arautos do Evangelho. Guiou-nos a hipótese de que estética, belo e sublime constituem a nervura da missão evangelizadora dos Arautos e ao mesmo tempo adquirem um sentido funcional visando a uma evangelização restauradora para atrair os fiéis que se afastaram da Igreja e para retomar os aspectos conservadores do catolicismo. Foram expostos a origem, o carisma, e a presença dos Arautos no espectro do catolicismo contemporâneo; os conceitos de estética, belo e sublime em geral e na concepção dos Arautos e na sua ação evangelizadora
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Sarikartal, Emine. "Enfances chez Jean-François Lyotard : sur les traces d’une notion plurielle." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100047/document.
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Si l’œuvre de Lyotard reste en suspens de son « supplément », qui serait comme « une ligne de résistance » dans la pensée, « l’insu qui hante sa philosophie », il semble bien que celui-ci serait une sorte de « phrase ‘infante’ ». Mais plus profondément, ce travail cherche à montrer que l’enfance est cet inconnu à multiples figures habitant l’œuvre de Lyotard bien avant le tournant du différend. Tissée par un mouvement dérivatif critique entre le langage, la psychanalyse et l’art, la pensée de Lyotard semble soucieuse de toucher la limite entre le système et l’événement, le même et l’autre, la structure et la différence, cette limite où l’hétérogène apparaît comme une force à la fois constitutive et refoulée. C’est justement ce que nous croyons repérer à travers les visages multiples de l’enfance. Ces visages qui ne se réduisent pas l’un à l’autre, se déclinent alors de l’infantile à la minorité et de là à l’infantia, Lyotard cherchant à toucher cet étranger chaque fois avec des instruments différents. Cette façon de lire Lyotard nous semble avoir l’avantage de mettre en relief certains topiques peu explorés de son œuvre, ou encore de voir sous un nouveau jour certains aspects surexploités de cette pensée. Ainsi l’on pourrait varier les travaux sur la pensée de Lyotard vers certains domaines inhabituels actuellement, comme la philosophie de l’éducation ou les études de la performanceIf Lyotard’s work is waiting for its « supplement » which would be like a « resistance line » in the thought, « the unbeknownst haunting his philosophy », it seems that this would be an « ‘infante’ phrase ». More thoroughly, we would like to show that childhood is a multiple figure inhabiting his work even before the turning of the différend. Lyotard’s thought, weaved in a critical derivative movement between language, psychoanalysis and art, seems to be attentive to the limit between the system and the event, the same and the other, the structure and the difference, that limit where the heterogenous appears to be a constitutif yet inhibited force. This is exactly what we hope to map out across the multiple faces of the childhood. Those faces not reducing to each other, vary from the infantile to the minority and from the minority to infantia. Thus Lyotard tries to touch this stranger with an other instrument each time. This way of reading Lyotard seems to have the advantage of highlighting some unexplored topics of his work, or to bring a new light on its over exploited aspects. Thereby we could vary works on Lyotard’s philosophy towards actually unfamiliar domains with it, like the philosophy of education or performance studies
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Salvetti, Florence. "Judaïsme et christianisme chez Kant : Du respect de la loi à son accomplissement dans l’amour." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5017.
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Cette thèse de doctorat se propose de reprendre l'ensemble de la philosophie pratique de Kant en aval, c'est-à-dire à partir de l'ouvrage chronologiquement tardif dans le corpus kantien, La Religion dans les limites de la simple raison (1793), dont la Première partie assigne à la volonté un défi : le « mal radical ». Le « mal radical » n'est pas le mal absolu ou diabolique, mais il consiste en une inversion (Verkehrtheit) de l'ordre des principes au sein du vouloir, et ne peut être déraciné que par l'entière conversion du cœur. Avec le mal s'ouvre l'antinomie du judaïsme, considéré par le philosophe comme le contre-modèle de la foi par excellence, et du christianisme, criterium unique et anhistorique de la religion, seul à même de résoudre le problème de l'homme nouveau. Si, selon Kant, le judaïsme est nouménalement nul parce qu'incapable de véhiculer le contenu de la religion rationnelle, le philosophe, qui considère l'interdit biblique de l'idolâtrie comme « le commandement le plus sublime du Livre de loi des Juifs », lui reconnaît néanmoins le mérite de mettre l'accent sur le respect. Le christianisme, quant à lui, met l'accent sur l'amour, dont Kant retient la signification pratique, à savoir qu'il est l'état de perfection de l'intention vers lequel nous devons tendreThis doctoral thesis suggests taking back the whole of Kant's practical philosophy downstream, i.e. from the chronologically late work in the Kantian corpus, The Religion within the limits of the simple reason (1793), the first part of which assigns to the will a challenge: “radical evil”. “Radical evil” is neither the absolute nor devilish evil, but it consists of an inversion (Verkehrtheit) of the order of the principles within the will, and can only be eradicated by the utter conversion of the heart. With the evil opens the antinomie of the Judaism which the philosopher considers as the paramount counter-model of the faith, and the Christianity, held to be the one and only unhistorical criterium of the religion the only to solve the problem of the new man. If, according to Kant, the Judaism is noumenally invalid because it is not able to convey the contents of the rational religion, the philosopher, who considers the biblical prohibition of the idolization as “the most sublime command of the Book of law of the Jews”, grants it nevertheless the merit of emphasizing respect. Christianity, as for him, emphasizes love, which, in practical meaning that Kant retains, is the state of perfection of the intention towards which we have to aim
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Mueller, Laura Joy. "Transcendental sensus communis: Reflective Foundations of Cognition in Kantian Epistemology." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1036.
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Pre-cognitive experience is important to Kant's epistemology, but for decades, the scholarship tended to leave this aspect aside. Pre-cognitive experience must be reintegrated, and several important works have made progress toward this goal. Some scholars maintain that the distinction between the A- and B- editions of the Critique of Pure Reason largely relates to the role of pre-cognitive experience in Kant's system. I offer an account of what Kant calls the "obscure functions of understanding," drawing from the third Critique, the Anthropology, and other writings in which Kant discusses pre-cognitive experience. I argue that the key to integrating pre-cognitive experience into Kantian epistemology lies in the proper analysis of sensus communis, or social feeling. Reflective judgment provides the logical structure by which both social feeling and the experience of the sublime come to be synthesized with cognitive experience. The result of my argument is a deepened and enhanced understanding of autonomy (which pervades the entire architectonic).
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Desessards, Juliana. "A percepção do espaço nas fronteiras do sublime / Juliana Desessards ; orientador, Jair Barboza." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2009. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1656.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009Bibliografia: f.78-81
O texto expõe um panorama do conceito de sublime desde seu surgimento em Longino até seu desdobramento na estética kantiana. Tem como objetivo demonstrar como o sublime retórico passou a ser tratado como uma característica dos espaços e dos eventos natura
This text explains historically the concept of sublime since its appearance on Longinus treatise till its development on Kantian aesthetics. It has the aim to demonstrate how the rhetorical sublime became a concept of natural events and spaces to be exper
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Costa, Humberto. "A recepção do sublime kantiano em Schiller / Humberto Costa ; orientador, Jair Lopes Barboza." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2008. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1844.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008Bibliografia: p.130-135
Esta dissertação tem por objetivo investigar como Schiller recebe o conceito de sublime kantiano e como ele desenvolve para fundamentar esteticamente a compreensão que tem a respeito do teatro. Inicialmente, o conceito de sublime schilleriano é construído
The purpose dissertation is to research the way Schiller understands the concept of the Kantian sublime and how it develops it to aesthetically base his own comprehension about teatre. Initially, Schiller's concept is based on Kant's one, However as the
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Pérez, García Róger Antonio. "Arte y desinterés en la "Analítica de lo sublime" de Kant : una revisión del fundamento moral de la estética kantiana." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2015. http://tesis.pucp.edu.pe/repositorio/handle/123456789/6791.
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La presente tesis se ocupa del problema de la relación entre lo sublime y el arte, particularmente en el contexto posmoderno, desde la estética kantiana. Para ello, se plantea una revisión general de la Crítica de la Facultad de juzgar y las bases sobre las cuales Kant fundamenta su teoría estética. Se argumenta en favor de dos conceptos de estética, a fin de flexibilizar los parámetros de comprensión de lo estético. Además, se indican los objetivos de Kant para con la estética, con el objetivo de comprender los propósitos sistemáticos de su investigación, y explicar, desde allí, el lugar que ocupa cada apartado en la “Crítica de la facultad de juzgar estética”. Llegado este punto, es posible, también, comprender la razón de los reparos de Kant para con la relación entre el arte y lo sublime. Ello nos conduce a hacer una revisión del fundamento moral que sostiene la teoría kantiana de lo sublime y los problemas que este fundamento conlleva para la relación entre arte y sublimidad. Finalmente, proponemos una teoría de lo sublime, en discusión con dos diferentes lecturas de lo sublime kantiano en el arte, desde la lectura de la posmodernidad sostenida por Vattimo en relación con el tópico del nihilismo y la interrogante puesta en la más elevada conformidad a fin propia de la teleología de lo sublime.Tesis
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Kaminski, Luciano Ezequiel. "Do belo como símbolo de moralidade / Luciano Ezequiel Kaminski ; orientador, Daniel Omar Perez." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2008. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1275.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008Bibliografia: f. 202-206
Esta pesquisa tem como objetivo interpretar a afirmação kantiana de que o belo é símbolo do bom, de modo tal que a estética contribua para o desenvolvimento da moralidade sem ferir a distinção entre os dois tipos de juízos, estabelecida por Kant na segund
This search has like objective to interpret the kantian´s affirmation that the beautifulness is symbol of good, in such a manner that aesthetics contributes for development of morality without hurt the distinction between two types of judges, established
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Mariotto, Gladys. "O sublime kantiano no horizonte da arte contemporânea / Gladys Mariotto ; orientador, Eladio Constantino Pablo Craia." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2007. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1277.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2007Bibliografia: f. [105]-[109]
Este estudo pretende refletir acerca da obra estética kantiana, mais especificamente abordar a noção de sublime. Parte desta reflexão tem como campo de trabalho, principalmente, as obras Observações sobre o sentimento do belo e do sublime e Crítica da fac
This study intends to reflect about the kantian aesthetic theory, more specifically an approach the notion of sublime. Part of this reflection is mainly have as works field the pieces Observation on the feeling of the beauty and sublime and Critique of ju
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ARAUJO, ALEXANDRE MEDEIROS DE. "AESTHET-ICS AND MORALITY IN KANT: THE RELATIONSHIP BETWEEN THE SUBLIME AND MORAL SENTIMENT IN THE CRITIQUE OF THE FACULTY OF JUDGMENT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=19616@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO objetivo da dissertação é relacionar estética e moralidade a partir do ajuizamento estético do sublime, em Kant. Levando-se em conta que na Analítica do Sublime da Crítica da faculdade do juízo, Kant inúmeras vezes se refere ao sentimento ou ajuizamento do sublime como tendo uma relação com a moralidade a partir do sentimento moral ou o sentimento de respeito, sem, contudo, explicitar de que modo se daria essa relação, a hipótese que norteia a presente dissertação consiste na afirmação de uma ligação significativa entre sentimento estético e moralidade, argumentando que o ajuizamento do sublime atende a uma necessidade no inteiro sistema da filosofia kantiana, a saber, o estabelecimento da primazia do prático, sem que, contudo, seja ao preço da perda da autonomia do ajuizamento estético.
The scope of this dissertation is to relate aesthetics and morality based on the aes-thetic judgment of the sublime in Kant. Taking into consideration that in the Analytic of the Sublime from the Critique of the Power of Judgment, Kant repeatedly refers to the sentiment or judgment of the sublime as being related to morality based on the moral sen-timent or feeling of respect, without however explaining how this relationship might work in practice, the hypothesis that underpins this dissertation consists of the affirmation of a significant link between aesthetic sentiment and morality, arguing that the judgment of the sublime fulfills a need in the entire structure of Kantian philosophy, namely establishing the primacy of the practical, however without involving the loss of autonomy of aesthetic judgment.
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Maia, L?bia de Medeiros. "Cita??o e modernidade em ?lvares de Azevedo: do sublime ao dessublime." Universidade Federal do Rio Grande do Norte, 2007. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16181.
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Previous issue date: 2007-12-14El estudio de la citaci?n en Lira de los Veinte A?os, de ?lvares de Azevedo, desde la ?ptica de Antoine Compagnon e Ger?rd Genette, se muestra relevante a los estudios de la Literatura Comparada, en la perspectiva contepor?nea, pu?s el tema provoca la posibilidad de discutir la elaboraci?n de si del(los) otro(s), sucitando im?genes est?ticas y de los pensamientos que se aproximan de una noci?n de tesitura textual muy presente en la modernidad literaria. Este proceso instaura procedimientos de lectura, traducci?n, autoria y escritura, a?n, por ser utilizados, confirman la potencialidad inegable en que se escribi el trabajo po?tico del escritor. En la primer parte de la obra, se sugieren experiencias com lo bello y lo sublime, advindos del europeu, pero vuelto para una pesquisa de posibilidad discursivas. En la seg?n parte, esa instancia sublimada es puesta en crise, por el sujeto po?tico cribado por el deseo de tornarse singular. Se instauran en el campo valorativo de los signos rom?nticos elementos desfavorables de sentido diferentes. Dase, as?, la problematizaci?n puesta por las citaciones que ora, realizan cambios simb?licos, ora, actuan en las m?rgenes de los textos primeros, desorganizando el material de autoria, desublimandolo, en la irrupci?n de nuevos cuerpos discursivos y cuerp?sculos cituacionales. En la tecer parte, ligado a T?natos, como la dimensi?n por venir, marcando el presentimiento del poeta de que morir? temprano, como tambi?n la despedida de ?l. En esta tesi, se pretende, as?, circunscribir como se figura, elabora esa constituici?n est?tica azevediana y su escritura, situando cuestiones recortadas por el actor en su obra, las quales remeten a Hegel, Kant y la otras lecturas filos?ficas, ali puestas. Tal procedimiento toma la citaci?n como estrategia po?tica de inscrici?n del sujeto y de las alteridades que le atravesan, concebiendo eso proceso autoral en la forma de reconstruci?n de una ciudadela de libros en este aspecto, considerandose el enfoque de F?lix Guatar?, la prop?sito de los nuevos paradigmas y las espacialidades emergentes de estos -, o la biblioteca subjetiva, que se abre en vias y pasagenes. A trav?s de ellas el discurso captura no solamente los objetos po?ticos, pero tambi?n trazos autobiogr?ficos rasurados, traduciendo la lucha por la visibilidad del sujeto en la formaci?n de su pensamiento po?tico y est?tico
O estudo da cita??o em Lira dos Vinte Anos, de ?lvares de Azevedo, na ?tica de Antoine Compagnon e G?rard Genette, mostra-se relevante aos estudos da Literatura Comparada, na perspectiva contempor?nea, uma vez que o tema provoca a possibilidade de discutir a elabora??o de si e do(s) outro(s), suscitando imagens est?ticas e do pensamento que se aproximam de uma no??o de tessitura textual muito presente na modernidade liter?ria. Este processo instaura procedimentos de leitura, tradu??o, autoria e escritura, ainda, por serem atualizados, confirmando a potencialidade ineg?vel em que se inscreve o trabalho po?tico do escritor. Na primeira parte da obra, sugerem-se experi?ncias com o belo e o sublime, advindos do modelo europeu, mas voltadas para uma pesquisa de possibilidades discursivas. Na segunda parte, essa inst?ncia sublimada ? colocada em crise, pelo sujeito po?tico crivado pelo desejo de tornar-se singular. Instauram-se no campo valorativo dos signos rom?nticos elementos diaf?ricos de sentidos diferentes. D?-se, assim, a problematiza??o posta pelas cita??es que ora realizam trocas simb?licas, ora, agem nas margens do texto primeiro, desorganizando o material de autoria, dessublimando-o, na irrup??o de novos corpos discursivos e corp?sculos citacionais. Na terceira parte, a poesia opera o espa?o liter?rio, ligado a T?natos, como a dimens?o por vir, marcando o pressentimento do poeta de que morrer? cedo, como tamb?m a despedida dele. Nesta tese, pretende-se, assim, circunscrever como se figura, elabora essa constitui??o est?tica azevediana e sua escritura, situando quest?es recortadas pelo autor em sua obra, as quais remetem a Hegel, Kant e a outras leituras filos?ficas, ali postas. Tal procedimento toma a cita??o como estrat?gia po?tica de inscri??o do sujeito e das alteridades que lhe atravessam, concebendo esse processo autoral na forma de reconstru??o de uma cidadela de livros, - nesse aspecto, considerando-se o enfoque de F?lix Guattari, a prop?sito dos novos paradigmas e as espacialidades emergentes destes -, ou de uma biblioteca subjetiva, que se abre em vias e passagens. Atrav?s delas o discurso captura n?o s? os objetos po?ticos, mas tamb?m tra?os autobiogr?ficos rasurados, traduzindo a luta pela visibilidade do sujeito na forma??o de seu pensamento po?tico e est?tico
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Loiola, Rita de Cássia Bovo de. "O mar e a beleza moderna: uma análise do pequeno poema em prosa \'O Porto\', de Charles Baudelaire." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-09122016-145502/.
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Nas poesias do francês Charles Baudelaire a imagem marinha é recorrente, seja como duplo que reflete a subjetividade humana, espaço de fuga do árido cotidiano urbano, paralelo da amada ou ainda um espaço de incomparável beleza. Em um de seus manuscritos, o poeta afirma que o espetáculo do mar oferece uma ideia de infinito diminutivo, pois uma porção do líquido em movimento é suficiente para dar a mais elevada ideia de beleza que pode ser oferecida ao homem em sua habitação transitória. Assim, este trabalho pretende fazer uma análise crítica do pequeno poema em prosa O Porto, integrante do volume póstumo O Spleen de Paris, para examinar de que maneira o motivo marinho transfigura-se em um infinito diminutivo e, assim, promove sentimentos do belo e do sublime questões fundamentais para a estética do autor em uma poesia autônoma, que encerra sob sua harmonia e homogeneidade fraturas específicas do sujeito moderno. Por meio da comparação com outros pequenos poemas em prosa e em verso que abordam o elemento marítimo, manuscritos e textos estéticos do poeta, bem como a fortuna crítica acerca da obra baudelaireana e estudos filosóficos que conceituam o belo e o sublime no âmbito da estética, a presente análise procura verificar como este curto O Porto se vale do tópico marítimo e, sob o traje do pequeno poema em prosa e da composição de um sofisticado engenho alegórico, oferece ao leitor vislumbres intensamente líricos da beleza moderna criada por Baudelaire.In Charles Baudelaires poems, the maritime images are recurrent, either as a double that reflects the human subjectivity, as an escape from the arid urban space, as the beloved portrait, or as a space of incomparable beauty. In one of Baudelaires manuscripts, he affirms that the spectacle of the sea offers the idea of the infinite diminutive: twelve or fourteen leagues of liquid in movement are enough to convey the highest ideal of beauty which is offered to man in his transitory habitation. Therefore, this work aims to critically analyze the prose poem The Port, part of the posthumous edition Paris Spleen, to verify how the maritime motive becomes the infinite diminutive and, thus, promotes the feeling of the beautiful and sublime fundamental questions to the authors aesthetic in an autonomous poetry, that under its harmony shows specific fractures of the modern individual. Comparing The Port with other prose poems and also with some Les Fleurs du Mal poems that mentions the maritime element, manuscripts and aesthetic texts written by the poet as well as Baudelaires critical fortune and philosophical studies that define the beautiful and the sublime, this analyses aims to verify how this short The Port addresses the maritime topic and, under the garment of the prose poem and the sophisticated allegorical procedure, offers to the reader deep lyrical glimpses of the modern beauty created by Charles Baudelaire.
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Oestreich, Danton Guilherme. "Da hermenêutica musical: relações entre conteúdo e forma do belo musical a partir da leitura gadameriana do juízo estético." Universidade do Vale do Rio dos Sinos, 2016. http://www.repositorio.jesuita.org.br/handle/UNISINOS/5935.
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Gadamer desenvolve sua ontologia da obra de arte recorrendo ao conceito de jogo para expressar o modo de ser obra da arte, salientando a importância de libertar o conceito do significado subjetivo que, desde a estética de Kant, prevaleceu para a abordagem da arte bela. A julgar pela natureza hermenêutica da sua investigação, ele parece ter em vista a intenção de contrapor a necessidade de uma mediação histórica do conteúdo da arte diante da noção estética que privilegia a simples distinção formal da arte. De fato, isto sugere um confronto com a noção de jogo livre das faculdades da imaginação e do entendimento de Kant que se refere ao estado ideal do ânimo quando este está inclinado a reconhecer algo como belo e que é autônomo de questões de conteúdo na perspectiva de uma distinção formal. Além disso, para Kant, no caso das obras de arte, a possibilidade de ajuizamento da beleza seria mediada pelo conceito de forma da arte em questão, onde a música acaba sendo definida como o “belo jogo das sensações do ouvido”. Cabe perceber, desta forma, que na música encontramos uma confluência das dimensões estética, hermenêutica e formal através do mesmo conceito de jogo, o que permite considerar a leitura gadameriana do juízo estético sob as peculiaridades da arte musical. Assim, o propósito deste estudo é averiguar a tensão existente entre uma consideração do belo musical enquanto dependente de uma autonomia estética ou enquanto dotado de questões de conteúdo para o qual a forma tem que ser referente. Esta situação problema será apresentada a partir da forma musical de um exemplo específico – a saber: o final da primeira sonata Royal Winter Music de Hans Werner Henze – para mostrar como aspectos da teoria kantiana e gadameriana podem ser significativos para a compreensão da experiência musical.
Gadamer develops its ontology of the artwork using the play concept to express the mode of being of the work of art, stressing the importance of freeing the concept from the subjective meaning that, since Kant's aesthetics, prevailed in the approach the beautiful art. Judging by the hermeneutic nature of his research, he seems to have in mind the intention of counteracting the need for a art content's historical mediation on the aesthetic notion that favors simple formal distinction of art. In fact, this suggests a confrontation with Kant's notion of free play of the faculties of imagination and understanding, referred to the ideal state of mind when it is inclined to recognize something as beautiful and autonomous from content issues in a perspective of formal distinction. Moreover, for Kant, in the case of works of art, the possibility of beauty judgment would be mediated by the concept of art form in question, where the music ends up being defined as the "beautiful play of ear sensations”. In this way, it should be noted that in music we find a confluence of aesthetic, hermeneutics and formal's dimensions through the same play concept, what allowing the consideration of Gadamer's reading of aesthetic judgment under the peculiarities of musical art. Thus, the purpose of this study is to ascertain the tension between a consideration of the musical beautiful as dependent on an aesthetic autonomy or as endowed with content issues for which the musical form has to be related. This problem situation is presented from the musical form of a specific example – namely: the end of the Hans Werner Henze's Royal Winter Music first sonata – to show how aspects of the theories of Kant and Gadamer can be significant for understanding the musical experience.
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Enström, Anna. "Kant och papegojan : Om exemplen i Kritik av omdömeskraften." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9756.
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This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.
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Cheng, Nicolas. "The beauty of nothingness." Thesis, Konstfack, Ädellab/Metallformgivning, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3234.
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If I relate beauty to nothingness, what happens? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty? Is it beauty that you cannot even catch? Is its appearance neutral, almost hidden? When we are born, we all have the same degree of beauty and purity, which is progressively lost as long as we start growing up. In a life span, we accumulate wrinkles, and defects and dirt which needs to be concealed in order to fit in certain social categories. But our bodies register all the marks, absorb all the signs and impurities, likewise filters. We don’t necessarly perceive our own dirt or impurities as disgusting, whereas, in the clash with the other, we automatically are ahsamed of it. Same way, we tend to regard the other’s dirt as disgusting, not our own, very private dirt. Dirt is matter out of place, so is ugliness. The stain must be cleansed, purified as it represents a threaten for beauty. It is subtracting clean space to beauty. We are part of a society that intimates us to clean up, shape up, hide your -very human- dirt under the carpet. But beauty, nor humanity, would not exist without that dirt. We do absorb impurities all life long. And that is what makes us what we ultimately are: humans. Dirt paradoxically works as a protection: the dirtier we are, the less afraid of getting dirty we will be. In the society we live in exist many difficulties when it comes to find an identity as humans and a position in it. We are often put in a situation of having to follow: a certain career, a living style, an ideology, somebody’s else opinion, what to consume, school systems. Etcetera. In such a society, and because of this “follower-like”, passive position, where we mostly have to repeat the same living patterns, it got harder and harder to retrieve the meaning of things and to understand where we come from. Who we really are. We tend to put on uniforms or masks to fit in different standardazied situations. Everything and everybody has to fit in its or his standard place. This way our intrinsic human beauty is concealed and somehow controlled. With my essai, I try to look under the carpet, undress, unmask and reach a new definition of beauty: a naked beauty, not concealed nor camouflaged. The beauty we all deeply share, unpretentious and honest. A beauty of nothingness: something I see or feel, but about which I keep wondering whether it is or it is not beauty. To develop such new definition of beauty, I recollect ideas and concepts of beauty from the past, with a main reference to western society: from beauty models in the ancient Greece, Apollonian VS Dionysian, to the Sublime, untill the present time. I try to define what purpose and non-purpose beauty is. What is ugliness and dirt and how they both are a prerequisites of beauty. I finally take a more personal look upon contemporary society and how its mechanisms define a beauty which is standard. It is starting from a reflexion about standard society and beauty, that I then define a more intrinsic human beauty. Such unevokable sensation of beauty is extremely subtle, hard to acknowledge: one needs to train ones eyes and go beyond the layers, to discover the beauty of nothingness.
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Spikbacka, Eva. "Who's there? : monologues on painting, indexicality and perception. A thinking process." Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7745.
Full textAbstract:
What we encounter in painting is not so much the authentically revealed self of the painter, but rather signs that insinuate that this absent self is somewhat present in it. /Isabelle Graw/ So, then what is a painting? Perhaps it is all about time, a certain amount of time in the constant murmuring stream of consciousness and the unconscious. A shape cut out of the amorphous. A recording of time spent in uncertainty, not knowing what is going to present itself. To bear the contradiction of in one hand allowing the permission of having an aim versus the absolute requirement of at some point let go of the model, the aim. And thus, submit to painting. In the glitch between distance and sensibility, an utterance, a pronouncement takes place. This text reflects a thinking process that revolves around painting as will and resistance, concepts regarding aesthetics, subjectivity and perception.
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Wang, Wanzheng Michelle. "Reclaiming Aesthetics in Twentieth- and Twenty-First-Century Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435584142.
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af, Malmborg Solith. "Research: ROTHKO : - ett arbete om att lära känna sig själv genom någon annan." Thesis, Linköpings universitet, Malmstens Linköpings universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-146095.
Full textAbstract:
This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter.Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.
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Duh, Diu-wai, and 杜迪維. "A Study of Kant''s Sublime." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/24552453123917121198.
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Fernandes, Magda Andreia Delgado 1980. "O belo como consolação." Master's thesis, 2012. http://hdl.handle.net/10451/5638.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2012From the Schopenhauer theory on pain, and its repercussions in the conception of the Dionysian in Nietzsche, an ascendant path is created up to the transcendent, through aesthetic contemplation, passing through several categories of Beautiful. The name given to this transcendence in the present dissertation is Absolute – which reveals itself in proximity to the idea of sublime (supported in Kant’s heritage, as well as in texts from Schopenhauer and Nietzsche) but with added mystic lines. The metaphysical consolation occurs because there exists pain, being that to this Beautiful rushes as a possible redemption. The use of personal experience linked to the artistic practice is necessarily a mode of reflection, revealing itself inseparable of an awareness of the key insights to the elaboration of the theme. Atelier work while primordial expression has revealed itself as a premise of the awareness of the concepts, which led to the necessary reading for an adequate naming, in order to elaborate this thesis. Reciprocally, the writing represented an influence on the created images
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Matos, Sérgio J. F. 1980. "O belo ideal e a teoria da mimese na história da escultura : o belo natural e o belo ideal na escultura." Master's thesis, 2017. http://hdl.handle.net/10451/30427.
Full textAbstract:
This Dissertation seeks to respond to the problem of Idealization in the History of
Sculpture, focusing on the Classical, Contemporary and Modern notion of mimesis,
understood as imitation of nature, as imitation of the Idea and as imitation of artistic
paradigms present in works of Art of Classical Antiquity...
We postulate an analysis and approach of focus and of philosophical-sculptural nature, for
a matter of capital importance, seeking to understand the cyclicity that guided the various
aesthetic movements of intersignification of the Human Civilization, in relation to the
concept of Ideal Beauty as Resemblance, and of Ideal Beauty as Sublime, according to a
vision of mimesis as copy, and of mimesis as creation
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Koster, John M. "Goethe and the Sublime." Thesis, 2013. http://hdl.handle.net/1807/35868.
Full textAbstract:
The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity.
As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.
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"康德論崇高體驗." 2011. http://library.cuhk.edu.hk/record=b5894873.
Full textAbstract:
李康廷."2011年8月".
"2011 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 99-103).
Abstract in Chinese and English.
Li Kangting.
引用與縮寫 --- p.5
導論 --- p.6
Chapter 1 --- 康德論人的立場 --- p.10
Chapter 1.1 --- 人類的認知活動 --- p.11
Chapter 1.2 --- 人類的創造活動 --- p.14
想像力於創造活動的功能 --- p.17
Chapter 1.3 --- 有限理性者的使命 --- p.19
Chapter 1.4 --- 有限理性者的他律傾向 --- p.22
實踐理性的他律 --- p.22
理論理性的他律 --- p.24
Chapter 2 --- 反省性判斷與美感判斷 --- p.30
Chapter 2.1 --- 反省性判斷 --- p.30
決定性判斷與反省性判斷 --- p.30
感性反省判斷 --- p.32
想像力於反省性判斷的角色 --- p.33
自然合目的性 --- p.34
Chapter 2.2 --- 美感判斷 --- p.37
美感判斷與自由遊戲 --- p.37
美感判斷是純粹的判斷 --- p.38
無利害關係的滿足感 --- p.40
主觀普遍性 --- p.42
無目的的合目的性 --- p.43
示範的必然性 --- p.44
Chapter 2.3 --- 美感經驗的功能 --- p.46
美感經驗於認知上的功能 --- p.48
美感經驗於道德上的功能 --- p.51
Chapter 3 --- 崇高判斷一般 --- p.54
Chapter 3.1 --- 崇高經驗 --- p.54
反目的性：痛苦 --- p.55
合目的性：歡愉 --- p.58
反目的的合目的性：否定的歡愉 --- p.60
Chapter 3.2 --- 數學崇高與力學崇高的區分 --- p.63
數學與力學的區分 --- p.63
數學崇高與力學崇高 --- p.65
Chapter 4 --- 數學崇高 --- p.68
理論理性的要求 --- p.68
數學綜合的失敗 --- p.70
思想能力的自覺 --- p.73
數學崇高的功能 --- p.74
數學崇高的對象 --- p.77
Chapter 5 --- 力學崇高 --- p.80
實踐理性的要求 --- p.80
格律的製造 --- p.82
力學綜合的失敗 --- p.85
自由意志的自覺 --- p.86
力學崇高與道德感的分別 --- p.88
力學崇高的功能 --- p.89
總結 --- p.94
參考書目 --- p.99
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Pitta, Joana 1993. "Passagens por caminhos sublimes." Master's thesis, 2018. http://hdl.handle.net/10451/34354.
Full textAbstract:
A theoretical work to support the production of a video about the search for the primordial being, that who manifests itself on the concrete existence, and whose starting point departures from the Heideggerian reflection on the factual existence of man. This existence is a project that lies on the will of man to be who he is, and therefore on the development of the possibilities of being one’s own, what makes one self-different from the others. Being in the world, the general condition of existence, the experience from which man regards the understanding of his particular relation to what surrounds him, and the medium to his own transforming action; this opening of man to the world as the being-there, which is, at the same time, the there-being1, impels to the primordial question of the meaning of being; only man is able to seek for it, for only man lives with the being, constantly in his language. The search for the being reveals itself, therefore, as the most secret desire of man, his true “object for”, and the reason of his own self being, which commonly hides and gets lost in daily life. This dimension reveals to be insufficient to answer the question of existence, and that one of the being who is presented along, so that only through withdrawal, provoked by the anguish of this insufficiency, can it be provided way for the unveiling of the mystery. In the present work, this withdrawal develops through a regressive path, built out of symbolic images such as landscapes, in which it is discovered the suspension in the void that is the human existence. Finitude as the completeness of the being. The void as a vastness of pure, omnipotent and sublime potentiality. This reflection will also include the convocation of the legacies J-Lacan and S. Freud, constituting an "opening" (underlining ours) also for the Passages by Sublime Paths, caldering this more psychological and psychoanalytical dimension, the initial ontological basis of this work
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Britten, Alex M. "Beckett, Barthelme, and Vonnegut : finding hope in meaninglessness." Thesis, 2012. http://hdl.handle.net/1957/29094.
Full textAbstract:
This thesis is a study of the shifting philosophical trends in the works of Samuel Beckett, Donald Barthelme, and Kurt Vonnegut as representations of a greater shift from modernism to postmodernism. I have chosen to explore Beckett's plays Waiting for Godot and Krapp's Last Tape, Barthelme's short stories "Nothing: A Preliminary Account," "The New Music," and "Kierkegaard Unfair to Schlegal," and Vonnegut's book Timequake to see how each author seeks to find a new hope in the face of a collapsed causal system. This work is an examination of the form and content of each author's work as it pertains to their own philosophical standing and in relation to the other two authors' works. I argue that each author finds a different hope for humanity depending on their place among the philosophical trends during their time.Graduation date: 2012