Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Conselho Nacional de Desenvolvimento Científico e Tecnológico / O Ensino da Arte: a arte na educação como conhecimento humano é o título da dissertação que teve como objetivo geral mostrar que a presença da arte no processo educativo possui uma dimensão de conhecimento. Ela foi realizada através de pesquisa bibliográfica centrada na leitura de obras de cunho filosófico. Neste trajeto examinamos os modelos pedagógicos predominantes no ensino da arte no Brasil, a formação do conhecimento racional moderno e a concepção de arte na idade moderna. Estas reflexões teóricas nos aproximaram de uma nova concepção de arte como conhecimento, segundo a ótica do filósofo Ernst Cassirer que entende a arte como forma simbólica de apreensão da realidade. / Art Teaching: Art in education as human knowledge is the titel of a dissertation that has had as a general goal to show that the presence of art in the educative process has a dimension of knowledge. It has been done through a bibliografical research centered in the reading of works of philosophical subject. In this route we examined the predominant pedagogical patterns in the teaching of art in Brazil, the formation of modern rational knowledge and the conceptionof art in modern age. These theoretical reflections approach us to a new conception of art as a forma of knowledge, as for the concepts of Philosopher Ernst Cassirer who understands art as a simbolic forma of reality apprehension.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo do presente trabalho é analisar a resposta de Danto ao problema da natureza da arte. Para isso, investigaremos o modo como ele utiliza os experimentos dos indiscerníveis, tanto para objetar as teorias tradicionais da arte como para erigir sua definição; e filosofia da arte, o que pode ser chamado, respectivamente, de tarefa negativa e tarefa positiva do uso do método dos indiscerníveis. A primeira parte desse trabalho se ocupa da tarefa de investigar justamente como os experimentos dos indiscerníveis são usados para objetar as teorias mimética, formalista, expressivista, institucionais, da atitude estética, e, por fim, a teoria da indefinibilidade da arte. A segunda parte trata de demonstrar como Danto, através dos experimentos dos indiscerníveis, extrai as condições necessárias e suficientes de sua definição de arte. A terceira e última parte deste trabalho analisa a relação existente entre a definição da arte e a filosofia da história da arte de Danto, principalmente a tese acerca do fim da arte. / The aim of this work is to examine the definition of art proposed by the Arthur C. Danto. For this, we investigated how he uses the experiment of indiscernibles, both to object the tradicional theories of art and to erect his definition of art; which can be called respectively by negative task and positive task of usage of method of indiscernibles. The first part of this work is concerned with to investigate how the experiment of indiscernibles are used to object the theories mimetic, formalist, expressivist, institutional, aesthetic attitude and theory of indefinability of art. The second part of this work focuses to demonstrate how Danto extracts the necessary and sufficient conditions of his definitions of art by the experiments of indiscernibles. The third and last part of this work examines the relationship between the definition of art and Dantos philosophy of art history, especially his thesis about the end of art.

O presente trabalho tem por objetivo reconstruir o conceito de ciência do sensível na obra do filosofo alemão Alexander Gottlieb Baumgarten (1714- 1762). Partimos do pressuposto de que a investigacão das faculdades do conhecimento empreendida pelo autor na Metafisíca (1739) pode revelar o alcance e a finalidade da Estética (1750/58), a qual se encontra mais comprometida com as possibilidades em geral de expressão do belo do que com a definicão de uma teoria do objeto artístico em sua particularidade. Esse último aspecto, na verdade, pode prejudicar a interpretacão de sua obra, pois assume que ela estipula a existencia um ideal de beleza atemporal. Para Baumgarten, os princípios que regem o conhecimento sensível coincidem com as regras de expressão do belo, tal como aquelas definidas nas poéticas e retóricas antigas, mas apenas na medida em que eles podem ser derivados das verdades metafisicas. / This study investigated the concept of asthetics as science of sensibility in the work from the philosopher Alexander Gottlieb Baumgarten (1714- 1762). We believe that the investigation of the cognitive faculties what happens in Metaphysica (1739) can reveal with someone precision the wasteness and finality of Aesthetics (1750/1758), situated between theorie of art and philosophy of life. Our argument is that the subordination of these science make she incapable to consider directly the artistic object in your particularity. While this justify the opposition that find the methaphysics of beauty in the posterity, indicated the emptiness what come face to face every theorie of art that not introduce yours cognitive pretexts.

This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

No description available.

Thesis (M. Tech. Beeldende kuns) -- Central University of Technology, free State, 2011

Piet Mondrian, one of the most significant representatives of modern abstract art, applied himself, aside from his own art work, to writing of theoretical texts. In his essays, he did not advocate for his own paintings, neither did he manifest any particular art movement. In these texts, one can trace rather general aesthetically-theoretical reflection on art, on the development of our world and on the position of a man in modern society. This thesis introduces Mondrian's comprehensive conception of art in light of aesthetics and the philosophy of art. It touches on the substance and function of art, on artistic means, on the role of an artist and on the meaning of art related to society and its development. The thesis focuses on the bases of Mondrian's theory and its influences. In addition, it presents various ideas of other contemporary avant-garde movements that somehow inspired Mondrian and that, together with his conception of art, create a certain context of the artistic atmosphere of the first half of the 20th century. The thesis draws from Mondrian's original texts that have, in most cases, not been translated into Czech, yet.

Theoretical understandings of war have been dominated by the thought of Clausewitz for a number of decades. His thought is valid in many respects, but for various reasons it is open to misinterpretation and misunderstanding; furthermore, a number of his observations (particularly on the prevalence of chance and uncertainty in war) are not fully explored and substantiated theoretically. This thesis is an attempt to present and elucidate a new theoretical understanding of war's nature which complements Clausewitz's theories and addresses these concerns: this is the understanding of war as a form of violent conflict which is not bound by rules. The thesis consists of five main chapters. The first is an in-depth study of Clausewitz, which will provide an exegesis of his theories and highlight the deficiencies in his thought, before positing how understanding war as ‘violent conflict without rules' could be used to address and explain them. The second chapter is a study of the theory of rules, examining in particular the role they play in moderating conflict: we can find that amongst other things, rules lend predictability and psychological security to a contest, restrict the scope of physical harm and tend to preserve the political and social status quo. As war lacks rules (in the sense that there are no ‘rules of war' as there are ‘rules of chess'), it therefore lacks these benefits. A following chapter on the laws and customs of war will address cases where war appears to be bound by rules, and clarify my position. The final two chapters explore the implications of war's lack of rules with reference to two areas which are most commonly associated with war. The fourth chapter on strategy will explore how this military concept is necessitated by war's ruleless nature; the final chapter will examine the uniquely violent, physical nature of war through the same theoretical prism, and will show how the technological innovation associated with war is a consequence of its lack of regulation, and a potent contributor to the chance and uncertainty which plagues warfare.

Submitted by William Justo Figueiro (williamjf) on 2015-07-10T22:00:36Z No. of bitstreams: 1 39b.pdf: 371352 bytes, checksum: 3dc9ff047ed5de279980dca8bff1f60f (MD5) / Made available in DSpace on 2015-07-10T22:00:36Z (GMT). No. of bitstreams: 1 39b.pdf: 371352 bytes, checksum: 3dc9ff047ed5de279980dca8bff1f60f (MD5) Previous issue date: 2010 / Nenhuma / Esta dissertação tem como objetivo destacar o desenvolvimento da linguagem musical sob um viés filosófico. Para tal desiderato, buscou-se verificar como a linguagem musical era concebida. Seja na visão filosófica dos gregos, com Pitágoras e Platão, ou dos medievais, com Boécio e ainda no século XX, com Adorno. A metodologia adotada para este fim foi a de selecionar importantes apontamentos sobre os desdobramentos da linguagem musical e como esta acabou por tornar-se um produto de consumo no decorrer do século XX. Adorno com sua profunda reflexão filosófica, musical e social é o centro desse estudo. Ora, as reflexões adornianas sobre a arte musical são de um cunho filosófico extraordinário e servem como um alerta aos especialistas em filosofia da arte. Enfim, tal visão defende uma linguagem musical acima dos interesses da chamada indústria da cultura, ou seja, uma música verdadeiramente autêntica. / This thesis aims at highlighting the development of musical language in a philosophical belief. To this aim, we attempted to verify how the musical language was seen. Under the philosophical vision of the Greeks, with Plato, or the medieval, with Boethius and even in the twentieth century, with Adorno. The methodology adopted for this purpose was to gather important insights into the unfolding of musical language and how it ended up becoming a consumer product in the course of the twentieth century. Adorno with his deep philosophical reflection, is the musical and social center of this study. However, Adorno's reflections on the art of music are of extraordinary philosophical and are used as a warning to specialists in the philosophy of art. Anyway, this view argues for a musical language above the interests of the so-calle culture industry, ie a truly authentic music.

The aim of this project is to develop a legally relevant theory of artistic value, based on which a judge can reliably determine whether a work has sufficient such value to be granted constitutional protection, even though it would otherwise count as obscene. Within this framework I argue that a moral flaw can count as an aesthetic virtue in a narrative work, at least when the audience learns something from the immoral content of the work. Since expert testimony is sometimes required in legal cases about artistic value, I also develop a legally applicable theory of aesthetic testimony, such that expert testimony can be used to determine the valence of aesthetic properties, which is essential in determining a work‘s overall artistic value. My theory of which properties of works are relevant to their aesthetic evaluation depends both on which categories the work is appreciated in, and on the conventions of those categories. I address these issues within Canadian and American legal contexts. / text