Navegando por Assunto "Filosofia da arte"

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Arte e intuição intelectual em Schelling
(Universidade Federal do Pará, 2015-11-03) CECIM, Arthur Martins; CORÔA, Pedro Paulo da Costa; http://lattes.cnpq.br/3785172545288511
The aim of this dissertation is to investigate the relationship between art and intellectual intuition in Schelling from the perspective of his lectures on Philosophy of art and of the System of transcendental idealism. By the conception of philosophy of art as a construction of the absolute in the form of art, we intend to analyze the importance of the absoluteness of the symbolic exposition for the objectivity of the Ideias of Philosophy. Thus, on the side of this absolute way of exposing, art can really exhibit the archetypes of Philosophy through a concrete objet. On the side of intuition, as the sixth part of the System of transcendental idealism shows, this means that the production of the aesthetic intuition is the only form of objectification for the intellectual intuition, which remains doubtful in the theoretical and practical fields. For, there are no empirical objects that correspond to the intelligible objet of this intuition in these two fields.
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Filosofia da arte e estética em Hegel
(Universidade Federal do Pará, 2016-12-15) PARENTE, Geovani Pantoja; CORÔA, Pedro Paulo da Costa; http://lattes.cnpq.br/3785172545288511
Our major goal in this study is to indicate the place where it insert the questioning of art developed within the German Idealism, based, for this, on understanding of Hegel about this entire process and their position to the traditional discourse on art and attempts, in his time, to provide a solid background to the debates around this issue of the Beautiful and artistic ideal. An important feature in this process is the fact that it involved problems that affect not only the new fundamental philosophical content, but also the very nomenclature within which the object to be sought. Difficulty persists until nowadays, when is try determine what exactly is "aesthetic", and what comes to be also in the proper sense, "the philosophy of art." The fact is, lying in front of historical circumstances surrounding aesthetics of consolidation as a discipline, and as an autonomous part of the philosophy, the testimony of Hegel proves essential to the subject, therefore, the better guide on those issues in which he try to find criteria defining goals of your subject, which proposes to make in view of the objections at the time are made to the idea that a philosophical approach to art is possible.
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Hacia una reflexion ontologica del arte moderno hondureño: una vision desde la filosofia de Arthur C. Danto
(Universidade Federal do Pará, 2018-03-13) ZUNIGA MEJÍA, Rafael Antonio; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
The work will seek to understand how were the origen of modern art in Honduras, analyzing the work of the most renowned artist. For this, the phylosophy and aesthetic visión of Arthur C Danto will be used in order to make and ontology of Honduras art that allows to establish how this has been developed. The objective is to reflecto n the type of lenguage used by contemporany artist in Honduras classifying the work of these artist temporally and identifying each of the proposedstyles from mimetic representation painting, abstract painting, installation and object art.
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Paisagem e retrato: pintura e filosofia em "Humano, demasiado humano" de Nietzsche
(Universidade Federal do Pará, 2016-09-30) LÉDO, Thiago Moura; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825
What is the philosophical orientation that Nietzsche put to himself in Human, All Too Human when he demands such consideration: “The philosophers are used to put themselves in front of life and experience as they were like a painting developed once for all, as a event painted”? In the second volume of the same work there is another aphorismus close to this one: “All the thinkers (philosophers, writers ...) are painters-thinkers (Maler-Denker) that paint their lives, and some of them impose to themselves the “absurd task” to paint „the’ life, in a excessive anxiety. How to caracteriza this position after that? Philosophy and Paiting set a relation that grows in a apropriate oportunity of Human, all too human’s contexto, despite it comes from precedents like the sketch of philosophical portraits in Philosophy in the Greek Tragic Era and the ulterior “Philosophical Autobiography”: the 86‟s Prefaces and Ecce homo. The most importante here is the imagetic and aphorismatic caracterization of Nietzsche‟s works in his “middle and positivist period”. Two ways put bases in this relation between philosophy and painting: 1) the necessity of contextualization grounded in a historical philosophy, 2) together with the moviment of individualization that do not complet a unit, but it constantly transfigure itself. Here one seeks to explain contextualization and individualization, that is, the landscape and portrait are methods of painting that Nietzsche used in philosophy, through the way that both converge to the problems of devir or problems of the historical sense.
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A tensão entre proximidade e distância no segundo momento do pensamento de Nietzsche
(Universidade Federal do Pará, 2018-03-22) SILVA, André Diogo Santos da; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825
Reflections on proximity and distance occur mainly in the second moment of Nietzsche’s thinking (1876 to 1882), in so far as he developed, around 1879, the idea of “doctrine of the nearest things”, and, some years later, in 1882, the notion of “artistic distance”. However, in this period he also criticizes the idea of opposition, since this concept alludes to a metaphysical philosophy. Another concept found in Nietzschean philosophy that would also express a relation between antagonisms is the idea of tension, which reflects a greater dynamicity. Thus, the problem of the present research consists in the following question: could it be possible to characterize the relation between the concepts of proximity and distance, identified in works belonging to the second moment of Nietzsche’s writings, as a tension, and not only an opposition (in view of the philosopher’s criticism of this idea)? From this general problem, the following specific objectives were established: 1. To delimit the specificity of the tension, mainly from the comparison with the concepts of opposition and antagonism; 2. To characterize proximity through the idea of the “doctrine of nearest things” and other related ideas, especially in the two volumes of Human, all too human and in The Down; 3. Find traces of the concept of distance in the Nietzschean writings, highlighting The Gay Science, a work that contains reflections on “artistic distance”; 4. To justify a tension between the previous concepts, identifying texts where Nietzsche suggests this relation (and not an opposition) between proximity and distance. These four objectives were developed through a bibliographical and historical-philological methodology, focusing mainly on the analysis of Nietzsche’s writings at the second moment of his intellectual production. As one of the results of the present investigation, we highlight the one that points out that the tension between proximity and distance in Nietzsche is observed more intensely, first, in the scope of knowledge – in which the thinker needs, one moment, to approach the object, the next to distance himself from his passionate quest for knowledge – and then, in the sphere of friendship – which differs from a simple “love of neighbor”, for in a high friendship the individual is also capable of distancing himself from his friend.