Ce travail de recherche analyse le concept du sublime dans l’esthétique hégélienne à partir des sources les plus directes à disposition : les leçons berlinoises sur la philosophie de l’art, à travers les Nachschriften ou cahiers de notes des élèves de Hegel. Ainsi, ce travail s’inscrit dans une position critique vis-à-vis de l’édition de ces leçons faite par H. G. Hotho. L’analyse se démarque de ladite lecture phénoménologique et s’efforce de montrer la nécessité d’une lecture logique de l’esthétique hégélienne en exposant la dialectique interne de cette esthétique, qui opère comme un devenir logico-esthétique des catégories de la Science de la logique. Plus particulièrement, l’objectif de cette thèse est de mettre en évidence l’existence d’une correspondance entre la catégorie esthétique du sublime et la catégorie logique du Schein ou « apparence » telle qu’exposée dans La doctrine de l’essence. Finalement, nous nous proposons ici de démontrer que le sublime compris comme Schein doit être mis en lien avec la catégorie fondamentale de cette esthétique, à savoir l’idéal, qui à son tour, à partir de cette correspondance avec les catégories de la logique de l’essence, est montré comme le moment de l’Erscheinung ou « apparition » de l’idée. Cette réflexion propose ainsi une détermination plus cohérente de l’idéal que la définition canonique contestée et cherche à mettre en avant une réponse à ce qui est considéré comme la question centrale de cette philosophie de l’art, à savoir la possibilité de la conciliation entre les deux aspects de l’œuvre d’art : l’esprit absolu comme contenu spirituel et la figure sensible comme son expression. / This research work is an analysis of the concept of the sublime within the Hegelian aesthetic, based on the most direct sources of available Berlin lectures on philosophy of art - i.e. the Nachschriften or notebooks from Hegel’s students. Therefore, it adopts a critical point of view regarding the edition of these lectures made by H. G. Hotho.This work distinguishes itself from the so-called phenomenological reading and aims to demonstrate the need of a logical way of reading the Hegelian aesthetic and presenting its inner dialectic, which develops as a logical and aesthetic evolution of the categories in the Science of Logic. Particularly, this thesis’ objective consists in revealing the existence of a connection between the aesthetic category of the sublime and the logical category of Schein or “shine”, as presented in the “Doctrine of the essence.” Finally, it is also proposed that the sublime, understood as Schein, should be correlated with the fundamental category of this aesthetic: namely the ideal, which in turn is shown as the moment of Erscheinung or “appearance” of the idea, based on the connection with the categories of the essence of logic. This suggests a more consistent determination of the ideal compared to the disputed canonical definition, and is intended to give an answer to a question that is considered the main issue of this philosophy of art: how is it possible to accomplish a balance between the two subjects of the artwork - the absolute spirit as spiritual content and the sensitive form as its expression.

The overall purpose of this study is to elucidate Wilhelm Peterson-Berger’s perception of gender and how it is manifested in his philosophy of art. His perception of gender also incorporates conceptions of history, music and nationality. The research question is analysed primarily by reviewing Peterson-Berger’s writings from 1896 to 1913. The research is intended to shed new light on a previously overlooked area of research, using gender theory and discourse analysis. Peterson-Berger and his work have not been examined previously from a gender theory perspective.  The research shows that Peterson-Berger was influenced in large measure by the prevailing ideals of his time, although he was in some ways more innovative than many of his contemporaries. Around the turn of the 20th century there was a great deal of focus on biology, with  a clear distinction drawn between femininity and masculinity[1] . Masculinity was held up as an ideal, in contrast to femininity and effeminacy. Peterson-Berger advocated this distinction, and emphasized the biological  distinction between [2] masculinity and femininity. However, a man need not always have all the characteristics that were considered typically masculine for his time, nor was it necessary for a woman to possess all the feminine characteristics typical of the female gender. According to Peterson-Berger, a woman could have a masculine soul, and vice versa. And although he often took a negative view of women, he granted musical recognition to singers who realized music in what was, to him, a masculine way. Moreover, the majority of Peterson-Berger’s close friends were women, and he dedicated many of his works to women. Theories of race and human evolution were circulating at the turn of the century, and clearly influenced Peterson-Berger. This study has shown that he pursued the writings of [3]  Chamberlain[4]  and Nietzsche. Incorporating elements of old Gothicist theories with ideas from the two aforementioned thinkers, Peterson-Berger constructed his own racial theory. He asserted that all peoples originated from the Nordic region, which he believed to be the birthplace of the entire human race. According to his theory, southern peoples were inferior[5] , with one exception, the Greeks, towards whom he was very positively disposed. This had to do with the ancient music drama, which Peterson-Berger believed had been created by inhabitants from the north who had migrated to Greece. Peterson-Berger’s notions about peoples from the north versus peoples from the south were interwoven with theories of sexuality. He believed that Germanic peoples were more sexually abstemious than southern Europeans, and that peoples who lived in the south were sexually dissolute. To indulge one’s sexuality was, in his view, a character flaw. Conversely, Peterson-Berger viewed asexuality as a masculine ideal, and believed it to be more common in the north.  A number of contradictions have emerged in his perceptions of race and sexuality. A number of his perceptions with respect to gender roles, sexuality, nationalism and philosophy[6]  are portrayed in his opera Arnljot, as are the contradictions inherent in them. For instance, the character Arnljot has many of the typical masculine characteristics held up as ideal, but nevertheless exhibits both weaknesses and deficiencies. This is reflected in both the music and the opera libretto. / Wilhelm Peterson-Berger var en av de mest framstående tonsättarna kring sekelskiftet 1900. Han var inte bara kompositör utan även aktiv skribent i daglighetspressen. Många av hans uppfattningar om kön, nationalitet, filosofi och konst återspelglas i hans skriftställeri men kan även tydas i de musikaliska verken. Peterson-Berger var till stor del påverkad av dåtidens rådande ideal, men på vissa sätt var han mer nydanande än många andra i sin samtid. Omkring sekelskiftet sattes mycket fokus på biologi och en tydlig uppdelning gjordes mellan kvinnligt och manligt. Manlighet ställdes upp som ett ideal i kontrast till kvinnlighet och omanlighet. Peterson-Berger förespråkar en sådan uppdelning och gör skillnad mellan biologisk manlighet och kvinnlighet. Dock behöver inte alltid en man förfoga över egenskaper som ansågs tidstypiskt manliga eller en kvinna inneha endast de tidstypiska kvinnliga egenskaperna. Enligt honom kunde en kvinna vara innehavare av en manlig själ och vice versa. Peterson-Berger tangerade således en modern syn på kön som pekar fram mot dagens genus teorier. I Peterson-Bergers opera Arnljot konkretiseras flera av hans uppfattningar av både könsroller, sexualitet och filosofi – liksom de motsägelser som fanns. Karaktären Arnljot förfogar exempelvis över flera av de idealtypiska manliga egenskaperna men uppvisar trots det både svagheter och brister. Det återspeglas såväl i text som i musik. Peterson-Bergers egen sexualitet har upprepade gånger varit omdiskuterad. Knyter vi an till hans musikaliska verk och skriftställeri kommer vi närmare ett svar på hur det kan ha förhållit sig.

Recently in analytic philosophy, interest in the issue of the epistemic value of art has been revived. Philosophers have sought to establish whether and in what ways art is a source of knowledge, understanding or a means of inquiry. In philosophy this is a longstanding question, addressed both in the Greek and German traditions, but it seems pertinent to ask the question again today in light of significant changes that have taken place in contemporary art practice. In my thesis, I investigate this question from two perspectives: in terms of analytic philosophy of art, and in terms of developments in contemporary art since the 1960s. In Part I, I offer a defence of a philosophical theory of artistic value, critically overview the extant philosophical literature on the question of epistemic value of art, and explain why the inherently experimental character of contemporary art makes it difficult simply to apply the available theories. I argue that a philosophical engagement with contemporary art requires a different, more inductive method. In Part II, I closely consider three recent developments in which the relationship between art and knowledge has been rendered more complex. The Conceptual Art movement of the 1960s and 1970s privileged concerns with concepts, thought processes and truth over expression, materiality and fidelity to genre. The social turn of the 1990s cast the artist in a position that is almost indistinguishable from that of a teacher, social activist or even of a technology developer. And the artists working within the bio art movement of the 1990s and 2000s have assimilated the activity of the artist to that of the scientist, sometimes blurring the two roles. The goal of the thesis is twofold. On the one hand, I show how cases from recent art history put pressure on some key commitments in recent analytic philosophy. Revisions and challenges are suggested in particular for extant theories of artistic value, conceptions of artistic autonomy and heteronomy, and some popular accounts of the epistemic value of art. On the other hand, concepts from analytic philosophy are used to shed light on some of the more radical developments in recent art practice, and to rethink the ways in which art participates in the broader culture.

[pt] A tese é uma análise da obra do escultor americano Richard Serra baseada no contexto cultural de onde surgiu e nos elementos formadores desse mesmo contexto, como a herança puritana da América protestante e os primórdios de sua filosofia. O empirismo de David Hume é compreendido como fundamento para o pragmatismo, que se desenvolve a partir dos ensaios de Ralph Waldo Emerson. Partindo de tal contextualização histórico-filosófica traça as principais características presentes no modo de atuar na América, relacionando-as à obra de Richard Serra. Estuda, o modo objetivo de atuar num sistema de capitalismo avançado, e suas possíveis analogias com o projeto moderno de desierarquização do universo artístico, empreendido pela arte moderna através da chamada externalização da arte. / [en] A critical analysis of the work of American sculptor Richard Serra, based on the cultural context in which it appeared and developed, such as the puritan heritage of protestant America and the beginnings of its philosophy. Empiricism, as the foundation of the American pragmatism, developed after the essays of Ralph Waldo Emerson, is seen through a brief study of David Hume´s Treatise of Human Nature. From this historicphilosophical background it traces the main characteristics of American way of behaving, in order to disclose the possible relations with the work of Richard Serra. The dissertation is centered on the manner by which an objective mode of behavior is crucial to advanced capitalism, and its possible analogies with the modern art project that envisages an art world less submitted to hierarchies. Enterprise made successful through the process of bringing the painting to the picture plane.

Com a finalidade de propor uma abordagem filosófica em torno de diversos problemas atuais da estética musical, em especial buscando identificar e situar uma crise existente na sua elaboração disciplinar, serão lançados nesta tese estudos sobre a problemática relação da estética com outros campos do conhecimento, tanto aqueles vinculados às ciências empírico-matemáticas quanto às ciências humanas. Questões centrais sobre a relação entre as artes e a filosofia, sobre o papel e a situação do esteta moderno, e sobre as tendências da composição musical contemporânea também serão abordadas, sempre no intuito de apresentar possibilidades epistemológicas para uma nova estética musical que sejam consubstanciais aos problemas das artes e da música contemporânea, bem como elementos para definições de arte e da música que sejam alternativas à histórica pregnância na modernidade do pensamento de vanguarda. Para tanto, esta tese se divide em quatro grandes ensaios, pretendendo-se que possam ser tomados, para além de sua unidade temática e estrutural, também isoladamente. / In this dissertation, studies about the problematic relationship of aesthetics with other fields of knowledge, as those bound to empirical-mathematical sciences as well to human sciences, will be launched with the goal of proposing a philosophical approach around various current musical aesthetics problems, specially aiming to identify and to situate an existent crisis in its disciplinary elaboration. Main questions about the relation among arts and philosophy, about the role and situation of the modern aesthete, and about trends of contemporary musical composition will be broached as well, always intending to present epistemológical possibilities to a new musical aesthetics that are consubstantial to the problems of arts and contemporary music, as well as elements for definitions of art and music which may be alternative to historical impression of modernity on avant-garde thinking. Therefore, this dissertation is divided in four great essays, with the intention that they may be taken, over and above its thematic and structural unit, also separately.

Made available in DSpace on 2016-12-23T14:09:39Z (GMT). No. of bitstreams: 1 Dissertacao Leonardo Machado.pdf: 990334 bytes, checksum: c1ab0bbc41439641544b756fb5948e45 (MD5) Previous issue date: 2011-05-30 / This work tries to grasp on what foundations Walter Benjamin s proposal of a need of a politicizing of art lies upon. To do so, we ve focused, mainly but not only, on his 1930 s writings, because his production is explicitly engaged in a political perspective during this period. The fragmentary fashion of his work has forced us to build a constellation of elements to sustain our own interpretation, being: a) his very particular conception of History and the influence of this conception in the forms mankind has been producing, perceiving and comprehending itself throughout the years as well; b) the relationship between progress and changes within the production s conditions, both material and spiritual (or intellectual); mainly the deep transformations which have happened because of the overwhelming material development caused by Industrial Revolution; and c) the specifically political element which shows itself because of the previous ones: as soon as one can understand in what way the capitalism s progress has changed deeply the structure of human s experience in the world, as well as their way of comprehending this same world (within arts, philosophy, religion, etc.), one can, so, comprehend this Benjamin s demanding that not only the art , but the whole critical and intellectual production should drive itself into a politicized perspective / Este trabalho busca investigar em que bases se assenta a proposta de Walter Benjamin sobre a necessidade de uma politização da arte . Para tal buscamos nos focar, principal, mas não exclusivamente, nos textos produzidos na década de 1930, período em que a produção dos ensaios de Benjamin aconteceu de uma forma mais explicitamente engajada do ponto de vista político. O caráter fragmentário da produção deste pensador obrigou-nos a construir uma constelação de elementos que pudessem sustentar nossa interpretação, a saber: a) a concepção benjaminiana de história, bem como a influência desta concepção nas próprias formas de perceber, compreender e produzir das coletividades humanas; b) a relação entre os avanços e transformações das condições de produção material e intelectual, sobretudo as profundas modificações ocorridas graças ao vertiginoso desenvolvimento material ocasionado pela Revolução Industrial; e c) o elemento propriamente político que se mostra a partir dos anteriores: na medida em que se compreende de que forma o progresso do capitalismo alterou fundamentalmente a experiência dos homens no mundo, assim como sua forma de compreender esse mesmo mundo, (nas artes, na filosofia, na religião, etc.), torna-se, então, possível de se compreender a exigência de Benjamin de que, não apenas a arte , mas que a produção crítica se oriente para uma perspectiva politizada

This investigation attempts to consider the identity of the contemporary Bergsonian philosophy of immanence by reflection on key conceptualisations from the work of Henri Bergson. From the view that thinking Bergsonian is an attitude of philosophy that anticipates the metaphysics of a philosophy of process, the demands of the emergence of thinking in art plays a role the directions of philosophical development. It is by this concern that key Bergsonian concepts serve as grounding of philosophical reflections of the related themes of time, images, and movement, and the change of thinking, towards an encounter of the practice of philosophy through the process of painting. Under the rubric of contemporary process metaphysics in art, we will attempt to establish a conceptual framework from principle Bergsonian conceptualizations, to acknowledge the process of painting as a different methodology of philosophy. This study of philosophy through painting then becomes a corresponding philosophy of the difference of thinking and the challenges to go beyond its identity. Proceeding by Bergsonian conceptualisations, to frame the context for a philosophy of painting, the question of the identity of painting is situated according to the didactic philosophies of Wassily Kandinsky. The comparisons and philosophical engagement between Bergsonian thinking and Kandinskian painting will be mediated by the counter interpretations of the philosophy of Michel Henry. The motivation to return to Bergsonian, exercised by a synthesis of Bergson’s concepts and Kandinsky’s theoretical practice, is situated according to an understanding of the identity of painting according to the terms of an ontology of images. In terms of a Bergsonian account of image, supported by a Kandinskian perspective, the focus will be towards the possibilities of philosophy and the metaphysics of becoming through the process of painting.

L’Italie, berceau de la sprezzata desinvoltura de Castiglione, est assurément le pays où l’ambiguïté des relations entre art, politique et images médiatiques est la plus forte. Le pavillon Italien des biennales de Venise de 2009 et 2011 illustre ce jeu complexe des apparences, qui « fait des mondes » ou « illumine des nations ». En relisant l’histoire de l’art à travers le prisme du concept de Castiglione, la thèse nous donne à voir que le monde (de l’art) est lui-même l’effet de l’ambivalence de cette désinvolture. Loin d’avoir assujetti l’art à leurs concepts, les grands hommes, qu’ils soient rois, philosophes ou hommes d’affaires seraient des effets de cette désinvolture de l’art. Comme Monsieur Jourdain, ils feraient de l’art sans le savoir. Exit Machiavel ! Il est aujourd’hui urgent de penser cette « ruse de l’art » qui mène le monde. Tel est l’enjeu fondamental de cette thèse qui, s’appuyant sur le schème nietzschéen de l’éternel retour, distingue plusieurs figures de la désinvolture, historiques, philosophiques et esthétiques. / Italy, the cradle of Castiglione’s sprezzata desinvoltura, is undoubtedly the country where the ambiguous relationship between art, politics and media is the strongest. The Italian pavilion of the Venice Biennale in 2009 and 2011 illustrates the complex game of appearances, which are “making worlds" or "lighting up nations." Reading again the history of art through the prism of Castiglione’s concept, the thesis shows us that the world (of art) is itself the effect of this “disinvoltura” ambivalence. Far from having subjugate art to their concepts, the great men, whether kings, philosophers or businessmen are the effects of this casualness (“desinvoltura”) of art. Like Monsieur Jourdain, they would make art without knowing it. Exit Machiavelli! It is now urgent to think this "ruse of art" that leads the world. These are the fundamental stakes of this thesis, that basing itself on the Nietzschean eternal return schema, distinguishes several casualness figures, historical, philosophical and aesthetic.

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