Thesis (doctoral)--Universität Basel, 1977. / Includes bibliographical references (p. 135-143).

Thesis (Ph. D.)--University of Virginia, 1996. / Includes bibliographical references (leaves 414-443). Also available online through Digital Dissertations.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-11-07T18:58:08Z No. of bitstreams: 2 Dissertação - Thaís Rodrigues de Souza - 2016.pdf: 1531920 bytes, checksum: 488d776ccb198a8e4603c488f8bdd333 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-08T17:46:27Z (GMT) No. of bitstreams: 2 Dissertação - Thaís Rodrigues de Souza - 2016.pdf: 1531920 bytes, checksum: 488d776ccb198a8e4603c488f8bdd333 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-08T17:46:27Z (GMT). No. of bitstreams: 2 Dissertação - Thaís Rodrigues de Souza - 2016.pdf: 1531920 bytes, checksum: 488d776ccb198a8e4603c488f8bdd333 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work collects two relevant thinkers of the nineteenth century: the philosopher Friedrich Nietzsche and the historian Jacob Burckhardt. We discuss which way concepts of culture and history of Hellenistic contributed to the constitution of culture conception in Nietzsche and yet how the philosopher of and Historian comprise a Greek antiquity for the construction of critical arguments to modernity. The starting point of this work is the defense of Nietzsche in The Birth of Tragedy about the authenticity of the Greek archaic culture at its appreciation of artistic impulses, and the need for a reinvigoration of modern culture by departing the ahistorical powers of art and religion over the appreciation of the rational impulse and scientific trend. Starting from the central concepts extracted from the works of these authors that are relevant to this issue, we investigate the notion of "Historical greatness" in Burckhardt, and how it helps in the comprehension of the conception of culture in Nietzsche’s philosophy. For Nietzsche and Burckhardt, the resumption of values of the Greek culture and the role of genius and individuality were designed as weapons against what they considered a decadence of modern culture. We intend so understanding how Nietzsche and Burckhardt perform their cultural interpretations, considering the specificities of each author and the praise of common parameter to greatness individual observed in Greece. We understand that there is in the conception of genius in Nietzsche the convergence of notions of culture and history, according as the begetting of this is the last task of culture and to the history fits the responsibility for the dialogue between these high copies. / O presente trabalho reúne dois relevantes pensadores do século XIX: o filósofo Friedrich Nietzsche e o historiador Jacob Burckhardt. Discutimos de que maneira os conceitos de cultura e história do helenista contribuíram para a constituição da concepção de cultura em Nietzsche e ainda o modo como o filósofo e o historiador compreendem a Antiguidade grega para a construção de argumentos de crítica à modernidade. O ponto de partida deste trabalho é a defesa de Nietzsche em O Nascimento da tragédia da autenticidade da cultura grega arcaica por sua valorização de impulsos artísticos, e a necessidade de uma revigoração da cultura moderna por afastar as potências a-históricas da arte e da religião em detrimento da valorização ao impulso racional e tendência científica. A partir de conceitos centrais extraídos das obras dos referidos autores pertinentes a essa temática, investigamos a noção de “grandeza histórica” em Burckhardt e o modo como esta auxilia na compreensão da cultura na filosofia nietzscheana. Para Nietzsche e para Burckhardt, a retomada dos valores da cultura grega e o papel do gênio e das individualidades são concebidos como armas contra o que eles consideravam a decadência da cultura moderna. Pretendemos assim compreender como Nietzsche e Burckhardt realizam suas interpretações culturais, considerando as especificidades de cada autor e o parâmetro comum de elogio à grandeza individual observada na Grécia. Compreendemos que há na concepção de gênio em Nietzsche a convergência das noções de cultura e história, na medida em que o engendramento deste é a tarefa última da cultura, e à história cabe a responsabilidade pelo diálogo entre esses elevados exemplares.

[pt] Jacob Burckhardt defendeu as vantagens de sua abordagem histórico-cultural, comparadas às abordagens historiográficas correntes no século XIX. Descrente com relação à prática acadêmica da História, às suas concepções progressistas e aos métodos científicos utilizados por seus pares, Burckhardt acreditou na legitimidade da Anschauung (contemplação intuitiva) como procedimento para a apreensão do conhecimento Histórico. A presente dissertação adota como ponto de partida a afirmação Burckhardtiana, contida em sua correspondência, de que, em sua concepção a História situava-se mais próxima da arte – mais especificamente da poesia - que da ciência. Partindo da análise dos seus escritos pretende-se discutir as implicações entre a História e a Arte, na concepção de escrita da História defendida por este historiador. / [en] Jacob Burckhardt supported the advantages of its cultural-historical approach to current historiographical approaches in the nineteenth century. Nonbeliever with the academic practice of history, with progressive ideas and the same with the scientific methods used by their peers, Burckhardt believed in the legitimacy of Anschauung (intuitive contemplation) as a procedure for the apprehension of history knowledge. This dissertation takes as its starting point the Burckhardtian assertion, contained in his correspondence that, for him, history was situated closer to art - specifically poetry - that of science. Based on the analysis of their writings, we intend to discuss the implications between History and the Arts in designing writing of history advocated by historian.

Zugl.: Berlin, Humboldt-Univ., Diss., 2006

Texte remanié de: Th. Ph. D.--University of Chicago. / Bibliogr. p. 167-214. Index.

Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Resumo: Não informado / Abstract: Not informed. / Made available in DSpace on 2018-07-24T02:45:44Z (GMT). No. of bitstreams: 1 Fernandes_CassiodaSilva_M.pdf: 4511925 bytes, checksum: b217f270600d69234eea20f44eb0f36e (MD5) Previous issue date: 1998 / Mestrado / Mestre em História

[pt] Este trabalho busca compreender o papel da música na vida e no pensamento de Friedrich W. Nietzsche (1844-1900), tendo como destaque sua relação com o compositor alemão Richard Wagner (1813-1883). Ambos tinham grande fascínio pelos gregos e criticavam fervorosamente a cultura moderna, defendendo a revalorização dos mitos e das lendas populares para a formação de uma cultura autêntica. Para isto, o homem precisa utilizar sua força plástica, isto é, sua capacidade de absorver o estranho e importuno, de transformar e assimilar o passado, cicatrizando as feridas e reparando as perdas. Através da força plástica é possível encontrar o equilíbrio entre o conhecimento mítico e o histórico, entre o interior e o exterior. O mito, como forma de pensamento, é um sistema sem conceitos. De acordo com Nietzsche, a música de Wagner representa esse sistema, pois consegue transmitir uma realidade histórica e tocar esse interior do homem. Cabe o questionamento: seria, então, possível pesquisar e ensinar História através de um sistema de pensamentos sem conceitos? Nietzsche admira muito o historiador Jacob Burckhardt (1818-1897) e ambos compartilhavam interesses e paixões, inclusive sobre o potencial das artes e da música para a formação de uma cultura. Neste sentido, aplico o questionamento à obra de Burckhardt Reflexões sobre História. Será que, assim como Wagner (através da música), Burckhardt conseguiria transmitir uma totalidade histórica sem o uso de conceituações? / [en] This work aim to comprehend the role of music in life and thought of Friedrich W. Nietzsche (1844-1900), highlighting his relation with the german composer Richard Wagner (1813-1883). Both were fascinated by the greeks and criticized the modern culture, defending the revalorization of myths and popular legends for the formation of an authentic culture. For this, men need to utilize their plastic force, this is, their capacity of absorve the strange and the inconvenient, of transform and assimile the past, healing the wounds and reparing the losses. Through plastic force it is possible to reach the equilibrium between the mythic and the historical knowledge, between the interior and the exterior. The myth, as a form of thought, is a system without concepts. According to Nietzsche, Wagner s music represents this system, because can transmit one historical reality and touch the interior of man. It s up to the question: would it be possible research and write History using this system of thought without concepts? Nietzsche admires the historian Jacob Burckhardt (1818-1897) and both share interests and passions, including the potential of arts and music for formation of culture. In this sense, I apply that question to the work of Burckhardt Reflexions on History. It would be, as Wagner (through the music), that Burckhardt could transmit one historical totality without the use of conceptualizations?

This work examines the anti-Catholic bias of Jacob Burckhardt as he employed it in the Civilization of the Renaissance in Italy. A biographical chapter examines his early education in the Lutheran seminary and the influence of his educators at the University of Berlin. The Civilization is examined in three critical areas: Burckhardt's treatment of the popes in his chapter "The State as a Work of Art," the reform tendencies of the Italian humanists which Burckhardt virtually ignored, and the rise of confraternities in Italy. In each instance, Burckhardt demonstrated a clear bias against the Catholic Church. Further study could reveal if this initial bias was perpetuated through later "Burckhardtian" historians.

Profondeur et complexité de la pensée poétique d’Hermann Hesse ont souvent échappé à une réception critique induite en erreur par la limpidité d’une écriture qui, aux antipodes de « la consternation » requise dans l’après-guerre, obéit à une poétique de l’allégresse, de la Heiterkeit. Identification et analyse de cette poétique exigent d’adopter la perspective active de Hesse, celle de lecteur-créateur, afin de mieux le suivre dans sa libération progressive de divers cadres de pensée philosophico-poétiques. Hesse se démarque d’abord, lors d’une première crise, des canons weimariens de la Heiterkeit puis, dans une seconde crise, de l’esthétique créatrice nietzschéenne de l’allégresse. Confronté à l’urgence de la situation historique, Hesse trouve alors à la fin des années vingt sa propre poétique de résistance aux idéologies totalitaires, notamment au national-socialisme : une poétique de l’allégresse originale qui, utopique et initiatique, n’évacue pas le non-rationnel de l’esprit, comme Thomas Mann à la même époque. L’auteur parvient, en incluant le non-rationnel dans le fondement historique et anthropologique qu’il retire de sa lecture de Jacob Burckhardt, à éviter les écueils d’une autre poétique se dédiant au même moment au combat historique et transhistorique contre le fascisme – la poétique benjamienne de l’aura et de « l’image dialectique ». La poétique hesséenne de l’allégresse sera initiation par traces de témoignages à une lecture-écriture allégoricienne faisant participer l’individu à une communication authentique, créatrice de vrai et de joie dans le partage culturel d’une parole poétique originaire où, avec l’autre, l’homme advient historiquement à lui-même. / Depth and complexity of Hermann Hesse’s poetical thinking have been foregone by many of his critics misled by the limpidity of a prosa which, displaying his concept of serene joy (Heiterkeit), dissented from « the consternation» litterature that prevailed after the war. To identify and to analyse this poetics we need to adopt Hesse’s active perspective of reader-creator while following his progressive liberation from different kinds of philosophical and poetical frames: in a first crisis, he struggles himself free of the Heiterkeit canons of the Weimar Classics whereas the second crisis enables him to break the spell of Nietzsche’s creative poetics of joy. Urged by the historical context of the late twenties, Hesse creates his own poetics of resistance against totalitarian ideologies, in particular against National Socialism: an utopian and initiatory poetics of joy, that does not dismiss the non-rational of the mind like does Thomas Mann. Hesse’s poetics is based on the historical and anthropological foundations originating from his reading of Jacob Burckhardt’s works. It therefore prevents itself from the pitfalls of another poetics dedicated to the historical and transhistorical fighting against fascism, i.e. Walter Benjamin’s poetics of the aura and the “dialectical image”. Hesse’s poetics of joy is an initiation, through traces of testimony, towards an allegorical reading-writing which allows the individual to take part in an authentic communication that creates both truth and joy by the cultural sharing of an original poetical language through which the human being is coming, together with the other, historically to himself.