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Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03Bitstream added on 2014-06-13T18:49:07Z : No. of bitstreams: 1 chagas_mls_me_ia.pdf: 915219 bytes, checksum: d601eee135e7d3d68f9e91654d4d8c9c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O trabalho procura refletir sobre as condições de validação do discurso da Arte destinada aos espaços públicos. O chamado espaço público de convívio encarna a contradição dos interesses entre sujetividade, capital e estado, tornando esse ambiente ideologicamente tenso e descontínuo. Discutir sobre a validez social de uma obra de arte instalada em lugar público, além de investigar os procedimentos conceituais e poéticos dos artistas, representa a reflexão sobre a tensão do conceito de público, da sua materialização geográfica, política e histórica e sobre a formação de uma opinião pública que confere - ou não - essa validez. / This research reflects upon the conditions of validation of the discourse of Art destined to public spaces. The so called public space of living incarnates interests contradictions between subjectivity, capital and sate, making this environment ideologically tense and discontinuos. Arguing about social validness of a work of art installed in a public spot, beyond investigating conceptual and poetical proceedings of artist, represents refleting about the tension of the concept of public. its geographical, political and historical materialization, and about the formation of a public opinion that confers - or not - this validness.

Orientador: João J. Spinelli / Resumo: O trabalho procura refletir sobre as condições de validação do discurso da Arte destinada aos espaços públicos. O chamado espaço público de convívio encarna a contradição dos interesses entre sujetividade, capital e estado, tornando esse ambiente ideologicamente tenso e descontínuo. Discutir sobre a validez social de uma obra de arte instalada em "lugar público", além de investigar os procedimentos conceituais e poéticos dos artistas, representa a reflexão sobre a tensão do conceito de "público", da sua materialização geográfica, política e histórica e sobre a formação de uma opinião pública que confere - ou não - essa validez. / Abstract: This research reflects upon the conditions of validation of the discourse of Art destined to public spaces. The so called public space of living incarnates interests contradictions between subjectivity, capital and sate, making this environment ideologically tense and discontinuos. Arguing about social validness of a work of art installed in a "public spot", beyond investigating conceptual and poetical proceedings of artist, represents refleting about the tension of the concept of "public". its geographical, political and historical materialization, and about the formation of a public opinion that confers - or not - this validness. / Mestre

The aim of this thesis is to increase our ontological understanding of musical works in two ways. We’ll increase our understanding of their categorial nature and we’ll increase our understanding of what the identity of each musical work consists in. In chapter 1, I introduce the basic question of the thesis: what are musical works? This question is broken down into four separate questions which guide the structure and argument of the thesis. One question asks if musical works exist, the other asks about the ontological category to which musical works belong. In the first half of the thesis, I argue that musical works exist and that the best explanation of their features is given by assigning them to the category of universals. I argue for this conclusion by elaborating and defending a view according to which musical works are properties. I then show that this conception is superior to the strongest rivals. One rival takes musical works to be historical individuals (Rohrbaugh 2003). The other takes them to be actions of composition (Davies 2004). In chapter 6, I turn to two questions about identity. One question asks about the identity criteria for musical works, the other question asks for an explanation of musical work identity. In the remainder of chapter 6, I argue by reference to contextualist intuitions that a superficially appealing view, sonicism is problematic. The critique of sonicism is used to draw out certain contextualist assumptions that our ontology of music ought to explain. In chapter 7, I examine a family of Levinsonian contextualist proposals. I argue that the original formulations (Levinson 1980) give incorrect results, and that attempts to modify them (Davies, S: 2001) slip into obscurity, or undermine the aims of the project (Levinson 1992). I end chapter 7 by presenting the performance theory in a more flattering light. I argue that as a theory of musical work identity, the performance theory is the best on the market because it overcomes the problems associated with the Levinsonian views and deepens our understanding of contextualist intuitions. In chapter 8, I present an account of the ontology of music which integrates the property theory of category with the performance theory of identity by construing musical works as impure relational properties. I then defend the integrated account against various objections. In this defence, I elaborate a view of compositional actions as belonging to the ontological category of processes.

O presente trabalho é uma dissertação que tem como objetivo investigar de que modo podemos compreender o conceito de experiência estética na filosofia hegeliana, tomando como ponto de partida o modo como Hegel trabalha o conceito de experiência na Fenomenologia do espírito. A partir desta primeira etapa da nossa investigação, procuramos também entender de que modo o conceito de experiência pode ser entendido na Enciclopédia das ciências filosóficas, para somente então encaminharmos nossa análise para os Cursos de estética, onde podemos encontrar de fato um trabalho voltado prioritariamente para o tema da arte e, desse modo, é onde encontraremos uma forma de pensarmos o conceito de experiência observado nas duas obras supracitadas no contexto específico da estética, isto é, da filosofia da bela arte. Assim sendo, o presente trabalho busca analisar, ao longo dos segundo e terceiro capítulos, os diversos aspectos presentes nos Cursos de estética que apresentam-se com maior relevância à luz do nosso objetivo, a investigação do tema da experiência estética, mantendo-nos em referência ao conceito de experiência apresentado de início, no primeiro capítulo. / The present work is a dissertation that aims to investigate how we can understand the concept of aesthetic experience in Hegelian philosophy, taking as the starting point the way Hegel works the concept of experience in the Phenomenology of the spirit. From this first stage of our research, we also seek to understand how the concept of experience can be understood in the Encyclopedia of philosophical sciences, to only then progress our analysis to the Hegels aesthetics: lectures on fine art, where we can find indeed a work focused primarily on the theme of art and thus is where we will find a way to think of the concept of experience observed in the two works mentioned above in the specific context of aesthetics, i.e. the philosophy of art. That being said, the present work seeks to analyse, throughout the second and third chapters, the various aspects present in Hegels aesthetics: lectures on fine art which have greater relevance in light of our objective, the investigation of the theme of aesthetic experience, keeping us in reference to the concept of experience presented at the beginning, in the first chapter.