Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-11-16T17:05:38Z No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) / Made available in DSpace on 2016-11-16T17:05:38Z (GMT). No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / 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.

Ce mémoire s'inscrit dans la méthode de praxéologie pastorale. Il analyse en qua-tre temps la mise en œuvre d'une exposition picturale qui oppose une figure alié-nante (conventionnelle et doucereuse) de Jésus à une vision trash (c'est à dire sub-versive et provocante) qui se veut plus fidèle à l'évangile. Le premier temps (ob-servation), qui présente le premier projet d'exposition ainsi que ses sources d'inspi-ration (personnelle, culturelle et artistique), amène à cerner deux problématique : la question de la vérité et l'orientation subversive (trash) du Jésus des évangiles. Le deuxième temps (interprétation) creuse tout d'abord la question de la vérité avec Hans Georg Gadamer, ce qui pousse à dépasser l'affirmation violente de la vérité du premier projet d'exposition pour le réorienter dans une perspective de questionnement. Par ailleurs, un modèle de dynamique trash permet de fonder la figure subversive et provocante de Jésus dans une relecture des évangiles, d’où un troisième temps (intervention) : l’amendement du premier projet d'exposition. En guise de conclusion, le quatrième temps (prospective) exporte des pointes de ré-flexion au-delà de l'interprétation concrète, à savoir au plan des questions de l'art et du public, du deuil de la vérité, de la dynamique trash et de la foi. / This dissertation is in line with what we call praxéologie pastorale. It analyses, in four cycles, the implementation of an exhibition which opposes an alienating fig-ure of Jesus (smooth and conventional) to a trash vision of him (in other words subversive and provocative), if we are to be faithful to the Bible's inscriptions. The first cycle (observation), which presents the first exhibition project as well as the inspiring sources (personal, cultural and artistic), brings us to surround two prob-lematics: the question of the truthfulness and the subversive orientation (trash) of the Bible's image of Jesus. The second cycle (interpretation) questions the truth with Hans Georg Gadamer, which brings us to surpass the violent affirmation of the truth of the first exposition project to reorient it into that of a questioning per-spective. Furthermore, an example of the trash dynamic allows us to base the sub-versive and provocative figure of Jesus by rereading the Bible; hence the third cycle (intervention): the amendment of the first exhibition project. In conclusion, the fourth cycle (prospective) pushes the reflection beyond the concrete interpreta-tion, namely, in regard to the arts and the public, the grief of the truth, the trash dynamic and the faith.

El trabajo de investigación se propone medir la influencia y recepción de Wittgenstein y Gadamer en el debate del pluralismo teórico contemporáneo. El pluralismo se comprende como una pluralidad de marcos conceptuales lingüísticamente articulados y contextualmente definidos que constituyen unidades de sentido para comunidades de vida vertebradas a partir de prácticas sociales comunes. La variante del pluralismo en la que se centra la investigación es asimismo el resultado de la crisis del paradigma de conocimiento moderno, cuya última instancia de conocimiento y acción es el sujeto, y que es sustituido por la formas de vida tras el giro lingüístico-pragmático del siglo XX. El debate a propósito del pluralismo es una de las múltiples posibilidades del debate sobre la razón, su alcance, capacidades y competencia, en el que Wittgenstein y Gadamer han sido importantes referentes. En el primer nivel de análisis, se trata de acotar la especificidad de pluralismo teórico en la que Wittgenstein y Gadamer pueden tener cabida. Se procede por vía de una reconstrucción histórico-filosófica del pluralismo que parte de su primera mención en Kant y Wolff, pasando por William James, el liberalismo clásico y el debate actual sobre el multiculturalismo. El objeto de la reconstrucción es establecer las tesis y argumentos principales del pluralismo en el momento presente. En un segundo nivel de análisis, se examina el tránsito del problema del lenguaje a la primacía de la praxis en un tratamiento diferenciado para cada uno de los autores, para pasar luego a la discusión crítica de sus posibles aportaciones individuales al problema filosófico del pluralismo, dando cuenta de una vasta panorámica en la recepción de ambos autores, pero acotando la discusión a los tópicos relacionados con la problemática del pluralismo teórico. Este segundo paso consta de cuatro capítulos, dos por autor, que examina el giro lingüístico-pragmático que cada uno de ellos desarrolla por separado desde múltiples perspectivas. En capítulo quinto y final, ambos autores son comparados en referencia a sus claves conjuntas para la concepción del lenguaje: los juegos de lenguaje (Sprachspiele) y la forma de vida (Lebensform) en Wittgenstein; el juego del lenguaje (sprachliches Spiel, das Spiel der Sprache) y la tradición histórico-lingüística (Überliferung) en Gadamer. El lenguaje como juego, el modelo dialógico y el sistema compartido de creencias que actúa como trasfondo en la argumentación y en la contrastación con el mundo de la experiencia son los ejes de comparación entre los máximos representantes de dos corrientes contemporáneas de la filosofía, la filosofía analítica del lenguaje (Wittgenstein) y la hermenéutica filosófica (Gadamer), que, a pesar de haber desarrollado sus proyectos filosóficos sin contacto la una con la otra, presentan profundas afinidades en sus intereses y objetivos. Por último, la reflexión se cierra en torno a la discusión crítica de la posibilidad de incorporar su común contribución filosófica sobre el lenguaje y la praxis a una concepción pluralista de la razón humana.PALABRAS CLAVE: Filosofía de la intersubjetividad, Hermenéutica, Filosofía de la acción, Pluralismo / The goal of the Doctoral Thesis is to examine the common influence of Wittgenstein and Gadamer on the contemporary debate concerning the theoretical pluralism, i.e. the controversial question of the competence and limits of human reason in the context of a plurality of forms of life and historical traditions. Wittgenstein and Gadamer are held to be the most important referents of two opposite philosophical movements without any points of contact: the analytical philosophy and the philosophical hermeneutics. Nevertheless, a careful treatment of both philosophers reveals profound affinities in the concepts of language and praxis. The most important coincidence is thus the assumption that all relevant philosophical problems have to do with our language in its ordinary uses. This results in the requirement to abandon the modern paradigm of knowledge, for which a transcendental subject is postulated as the condition of possibility of science and action.The Thesis consist in big three sections. The first introductory section presents an historical and philosophical reconstruction of the main arguments of philosophical pluralism. The second section contains four chapters that follow the transition of each of the authors from language to praxis and discusses their separate impact on the present practical philosophy. The final section consists in a comparison between their philosophies of language. The comparison is based on the image of the language as a game or a play, the practical constitution of belief and the dialogic model of communal life-world, aiming a pluralistic approach of reason.

Univ., Diss.--Oxford.

Zugl.: Kassel, Univ., Diss., 2007.

This thesis shows how democratic politics requires a commitment to pluralism as engagement and encounter of the other in their otherness. I contend that it is necessary to commit to such an idea of pluralism because of the problem of incomplete understanding. I establish this premise by drawing on Hans-Georg Gadamer’s account of human finitude. Based on this premise, I argue that the instantiation of Gadamer’s principle of openness leads democratic politics to pluralism as engagement and encounter of the other. Further, I develop accounts of asymmetric reciprocity, reflexivity, and agonism as modes of democratic politics that instantiate the principle of openness. In chapter 1, I establish discourse as a necessary element for democratic politics by drawing from the way Jurgen Habermas uses ‘discourse ethics’ to address the problems of understanding in plural societies. In chapter 2, I demonstrate how incomplete understanding poses a problem for discourse and gives rise to interpretive conflicts by drawing from Gadamer’s account of human finitude. Here I also develop an account of openness as a suitable principle for beings with incomplete understanding based on Gadamer’s idea of hermeneutical experience. In chapters 3-5, I develop accounts of asymmetric reciprocity, reflexivity, and agonism as modes of democratic politics that instantiate the principle of openness. I do so by drawing from Iris Young’s, John Dryzek’s, and Chantal Mouffe’s approaches to the problems that plurality poses to discourse ethics and democratic politics.

Enid Blyton and Agatha Christie were the most successful British women writers of their time. Christie and Blyton were contemporaries, living and writing in the United Kingdom during the first half of the twentieth century. This study takes into consideration these similarities in its examination of the depiction of dominant discourses in relation to emergent, alternative and oppositional discourses in their writing. This thesis suggests that while Enid Blyton and Agatha Christie offer alternatives to the dominant patriarchal discourses of the British Empire in the first half of the twentieth century, they show allegiance, too, to the dominant discourses of their time. Specific consideration is given to the portrayal of discourses concerned with gender, feminism, classism, British colonialism, racism, and xenophobia in their writing. The work of Enid Blyton and Agatha Christie was extremely popular in their time and still is today. Their important contribution to popular literature in England in the early twentieth century justifies a study of a selection of their work in relation to detective fiction and children’s literature as well as to studies of social history that include the investigation of how dominant discourse is both endorsed and challenged. / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted

This study strives to chart the occurrence of mystic and kabbalistic influences inthe textual liturgic material of Jewish prayer books - siddurim - in Stockholm,during the 19th century as well as of today. Two prayer books, both focusing onthe prayer service for sabbath and festivals, were studied and compared to amaterial corresponding to a more traditionally inclined ashkenaz liturgy. Alongsidethis comparative method, the study made use of the hermeneutics of Hans-GeorgeGadamer in order to gain a more thorough understanding of the backgroundleading up to the selection of materials within the Swedish siddurim. This involveda broad historical research of Jewish mysticism, Jewish liturgy and Jewish life inSweden. Furthermore, the reception history theory of Gadamer and Hans-RobertJauss was employed to analyze the reception of mystic and kabbalistic influencesupon the Swedish prayer books, taking in account the ways in which religioustexts are viewed within a certain tradition, depending on theological agendas,historical context, and the intercommunion between these, especially taking thereformist wave of Judaism in the 19th century under consideration. The results andanalysis came to show that, although there had been an extensive purge of explicitkabbalistic materials in the 19th century, texts with very clear connotations tomerkavah mysticism still remained. The siddur in use today has also reintroducedkabbalistic material to the liturgy. Through the lens of reception history theory,mystic and/or kabbalistic influences are shown to be a part of Jewish liturgy inStockholm, sometimes understood as an integral part of a wider liturgic tradition,sometimes as a devotional - but not explicitly esoteric - addition to the prayerservice.

In contemporary, French phenomenology, a debate has arisen concerning whether phenomenology can allow for a certain kind of “theological” consideration. In particular, Jean-Luc Marion argues that the potential of the reduction has not been fully explored and that a full reduction to pure givenness in fact allows one to give an account of the paradoxical experience of the impossible beyond experience, which is described as a phenomenon of revelation and may include a Revelation of God. Marion’s claims have been considered contentious. As I interpret it, the debate plays out between 1) those who also admit that phenomenology can occasion a form of “theological” consideration, but maintain, unlike Marion, that it remains a more existential affirmation of the impossible beyond experience, represented by Jacques Derrida and John Caputo, and 2) those who refuse any role for this impossible beyond experience within phenomenology (and perhaps more generally), and insist that phenomenology be preserved as an essentialist science of the appearances, represented by Dominique Janicaud. I take the positions of Derrida and Caputo, on the one hand, and Janicaud, on the other, to each entail extreme consequences that ought to be avoided—the former resulting in a form of irrationalism and the latter converting phenomenology into a form of pragmatism. Furthermore, I find Marion’s basic claim, that the impossible beyond experience ought to have a role in shaping finite experience, to be worth investigating further. However, Marion concedes too much to the deconstructive position of Derrida and Caputo at the outset, and so I find that the philosophy of Hans-Georg Gadamer provides an opportunity to correct some of the deficiencies in Marion’s position, but also argue to a similar end as he does. I find that Gadamer’s position incorporates an implicit analogical structure between rational experience and the impossible, thereby permitting one to maintain the impossible as impossible, but also affirm a certain possibility for understanding it.

Most recent studies of Cassian and his writings have examined the monk’s historical contexts, the theology expressed in his texts or his role in the development of monasticism. This dissertation examines the spirituality of Cassian and assesses its value to contemporary Christian communities. By applying a hermeneutical approach to the study of Cassian’s texts, the investigation distinguishes between the spirituality of Cassian, the historical person; the spirituality Cassian conveys in his writings; and Cassian’s spirituality as lived experience. The dissertation argues that Cassian’s spirituality as lived experience, as elicited by Gadamer’s hermeneutical model of conversation between text and interpreter, is valuable to contemporary Christian communities. It offers a spiritual ‘route map’ that can inspire, encourage and guide members of such communities on a spiritual journey that leads to greater intimacy with, and faithfulness to, Christ. The hermeneutical process necessary to appropriate the spirituality of Cassian as lived experience has the potential to dismantle prejudgements and attitudes of superiority and triumphalism often displayed by Christian communities and encourage fresh engagement with the history, traditions and Scriptures of the Church. / Christian Spirituality, Church History & Missiology / M. Th. (Christian Spirituality)