Cette étude prétend explorer les liens entretenus par l’œuvre et la pensée de Nerval d’une part, et le platonisme d’autre part. On s’attachera à envisager le platonisme autant dans la perspective des idées et représentations caractéristiques de la philosophie de Platon que dans la perspective du déploiement d’une tradition platonicienne protéiforme. L’œuvre de Nerval illustre sous de multiples aspects la continuité reliant le romantisme au platonisme, en matière d’imaginaire comme de conception du monde. La pensée de tradition platonicienne apparaît en effet constamment en filigrane de l’écriture de Nerval. Les paysages métaphysiques se succédant dans l’œuvre, ainsi que les grands champs de l’imaginaire de Nerval en portent le signe. L’auteur a constamment puisé dans l’ensemble du fonds de ce savoir érudit, tantôt philosophique, théologique ou ésotérique, pour nourrir sa propre pensée à la manière d’une immense architecture foisonnante mêlant lieux, temps, figures et motifs en une poésie intime. Cette étude se portera successivement sur des questions liées au rapport de Nerval à l’Histoire, à une série de motifs caractéristiques d’un imaginaire platonicien, et des interactions entre l’activité littéraire et la vie réelle. / This study claims to explore the relationships between Nerval's work and thought on one hand, and Platonism on the other. We will consider Platonism both in terms of the distinctive ideas and representations in Plato's philosophy, and evenly so in terms of a platonic tradition that has unfolded in many forms. Nerval's work reveals in abounding ways the continuity linking romanticism to Platonism, both in the realms of the imaginary and in the understanding of the world. Indeed, a platonic mindset constantly appears between the lines of Nerval's writing. The metaphysical landscapes succeeding one another in the oeuvre, along with Nerval's fields of imagination carry its trace. The author has constantly drawn upon the sources of this erudite knowledge, be it philosophical, theological, or esoteric, to nourish his own thought, adding to it as to a rich and immense architecture where places, times, characters and patterns mingle into an intimate poetry. This study will successively address questions bearing to Nerval's relation to History, to a series of motifs characteristic of a platonic imagination, and to interactions between literary activity and life in its reality.

[pt] Para Gonçalves de Magalhães, Francisco de Sales Torres Homem e Manuel Araújo Porto-alegre, o Império do Brasil deveria ser civilizado, o que equivale a dizer que precisava superar seu modo de ser egoísta, e isto em favor do éthos do amor. Tratava-se, portanto, da superação da herança colonial mais radical, a saber, o costume de pensar e de agir a partir das inclinações, dos apetites, em detrimento dos interesses concernentes à comunidade ou à pátria. Os primeiros Românticos se dedicaram, então, à reorientação ética da boa sociedade, e isto a partir de uma atmosfera melancólica fundada na tensão entre pessimismo e desconfiança, por um lado, e otimismo e esperança por outro. Ora mais pessimistas, por vezes desesperados, ora mais otimistas, em relação à possibilidade de concretizar seu projeto civilizador, iam produzindo suas poesias e seus estudos sobre história e economia política a partir de uma dupla estratégia, a saber, seduzir seus leitores provocando-os à assunção do modo de ser do amor, e isto a despeito de uma decisão racional originária e, a um só tempo, fornecer lições úteis fundamentais à conquista do progresso moral e material da pátria, lições dedicadas, em especial, à demonstração lógica da necessidade de se abolir, imediatamente, a escravidão. / [en] For Gonçalves de Magalhães, Francisco de Sales Torres Homem and Manuel Araújo Porto Alegre, the Empire of Brazil should be civilized, that is to say he needed to overcome his way of being selfish, and that in favor of the éthos of love. It was, therefore, to overcome the colonial heritage more radical, namely the habit of thinking and acting from the inclinations, appetites, to the detriment of interests concerning the community or the nation. The early Romantics were dedicated, then the ethical reorientation of the good society, and this from a melancholic atmosphere based on the tension between pessimism and distrust on the one hand and optimism and hope for another. Now more pessimistic, sometimes desperate, sometimes more optimistic about the possibility of realizing their civilizing project, would produce his poetry and his studies of history and political economy from a two-pronged strategy, namely, to entice your readers causing them the assumption of how to be love, and this despite a rational decision originated, and at the same time, provide useful lessons fundamental to the achievement of moral and material progress of the nation, dedicated lessons, in particular, the logical demonstration the need to abolish immediately slavery.

[pt] Esta tese estuda a tensão que caracteriza o pensamento dos primeiros autores do romantismo alemão, situados entre a consciência crítica (kantiana), que proibia nosso acesso à verdade absoluta, e o desejo de síntese (hegeliano) que pretendia alcançá-la. Nesse contexto, a arte apareceu como forma de dizer o absoluto justamente pela oposição à clareza objetiva pretendida pelo sujeito do conhecimento. Fora do quadro tradicional do classicismo, e trazendo consigo o traço moderno da reflexão, a arte seria genial: sua criação não dependeria da obediência a regras prévias. Por sua vez, a crítica saía do paradigma avaliativo pautado em normas, tornando-se filosófica. Forçava-se, então, a transformação do contato com a antiguidade clássica, que seria agora fragmentado, ao apontar para o caráter vanguardista que abre mão da totalidade. Ironia e alegoria seriam emblemas dessa quebra, evidenciando a descontinuidade entre signo e sentido na época moderna. Habitar a linguagem era experimentar o amor entre arte e filosofia, contrariando a querela que permanecera entre ambas desde Platão. Este estio do tempo ocorreu, na virada do século XVIII para o XIX, com a escrita do grupo de jovens capitaneado por Friedrich Schlegel na origem do romantismo, forjando uma filosofia da arte que foi também uma arte do filosofar. / [en] This thesis examines the tension that characterizes the thinking of the first German Romantic authors situated between (kantian) critical consciousness, which prohibits our access to absolute truth, and the (hegelian) desire for synthesis which presumes to lead us there. In this context, art emerges as a way of expressing the absolute precisely in opposition to the objective clarity intended by the subject of knowledge. Outside the traditional form of classicism and bringing with it the trace of modern reflection, art is genial in that its creation does not depend upon obedience to pre-existing rules. In turn, criticism leaves its evaluative paradigm, based on norms, and becomes philosophical. It therefore forces the transformation of the contact with classical antiquity, now fragmented, and points to the new vanguard, which surrenders the concept of totality. Irony and allegory are emblematic of this break, which shows the discontinuity of sign and sense in the modern era. Using this language means experiencing the love between art and philosophy, in contrast to the separation that has existed between them since Plato. This quietness in time occurred at the turn of the XVIII to the XIX Century in the works of a group of young writers led by Friedrich Schlegel at the origin of Romanticism, forging a philosophy of art that is also an art of philosophy.

This thesis deals with the fine art based on the experience of peregrination and walking - from plein air landscape painting to the works of action art and land art. These contemporary art movements regards the act of peregrination itself as an artwork. Didactic part of this thesis aims to employment of physical experience of walking in art education.

This thesis aims to understand Percy Bysshe Shelley's attitude towards the role of the poet in society as an usher of progressive change. To do this, it examines his metaphysics, chiefly his contact with the doctrines of idealism, which crystallised at the dawn of his life through his intimate relationship with the works of Plato, the early engagement with French materialists, English philosophers like Priestley and Hume & a later one with Lucretian materialism, and his deep entanglement with the first modern proponent of anarchism, William Godwin - who could be described as a perfectionist by some or as utilitarianist by others. By doing that the thesis seeks to shed light on how these doctrines influenced Shelley and how he conversed with and critiqued them, revealing the intricacies of his work because, in Shelley's philosophy, the nature of differentiation between the two, that is between materialism and idealism, is notoriously problematic. The beginning of the thesis serves to engage with Shelley's early contact with materialist doctrines, their fast repudiation in their pure form and his later critique in "Cloud" and response to them. The materialist influences of Shelley are pondered, as well as some of the possibilities of interpreting Shelley in a materialist way. Next, Shelley's...

A dissertação versa sobre as relações entre poesia e música no século XIX, bem como sobre a produção poético-musical resultante dessa união. O argumento central é o de que os poetas românticos foram colher inspiração no medievalismo europeu na só para a construção de uma mitologia nacional (indianismo), mas também para a concepção de uma arte única, pautada por essa aliança entre poesia e música nos moldes trovadorescos. Essa conexão foi além da musicalidade implícita na poética do período. Alguns românticos, tal como os trovadores, buscaram integrar as duas artes a partir de poemas escritos especialmente para serem musicados e apresentados em circunstâncias performáticas. Assim, nasceu, no Brasil, a parceria: um poeta produzindo a letra e um compositor musicando-a. A prática de fundir essas duas manifestações artísticas num todo único iniciada pelos trovadores teve continuidade em alguns poetas românticos, principalmente os que freqüentaram a tipografia do editor Paula Brito, fundador da conhecida Sociedade Petalógica do Rossio Grande. Das reuniões dessa sociedade resultaram diversos poemas musicados em forma de modinha ou lundu, examinados aqui de modo a evidenciar os temas recorrentes, bem como as imagens e metáforas musicais neles presentes. Essa aliança trouxe popularidade e novo alento, tanto para a música popular, quanto para a poesia brasileira que encontrou nessa aliança um meio de difusão que suprisse a carência de um público letrado. / This dissertation examines the relations between poetry and music in the nineteenth century, as well as the poetic-musical production which results from this union. The central argument is that romantic poets took inspiration from european medievalism not only for building a national mythology (indianism) but also for the conception of an unique art form, ruled by this alliance between poetry and music in the troubadourish models. This connection went beyond the implicit musicality of that era\'s poetry. Some romantic poets, as troubadours, wanted to integrate both arts from poems specially written to be set to music and presented in performance venues. Thus, the partnership was born in Brazil: poets started to create lyrics and composers set them to music. The practice of blending these two artistic manifestations in only one, initiated by the troubadours, had continuity with some romantic poets, mainly those who attended the editor Paula Brito\'s typography, founder of the well known Sociedade Petalógica do Rossio Grande. From these meetings came several poems set to music in form of modinha or lundu examinated here in order to portray the recurrent themes, as well as images and musical metaphors existing in them. This alliance brought popularity and enthusiasm for the popular music as for the Brazilian poetry, which found in this alliance a way of diffusion that would supply the need of the scholarly public.

Made available in DSpace on 2016-04-28T20:40:13Z (GMT). No. of bitstreams: 1 Maria Consuelo da Costa Oliveira e Silva.pdf: 1177215 bytes, checksum: 8b4ce100f42575dca5ac22c88b7340b6 (MD5) Previous issue date: 2009-08-28 / Researches over psychosomatic theme point to various authors. Each one with their own definition of the theme. By consequence there is no consistent definition of it. It is from this point that the author will use Georg Groddeck as a central theme of this dissertation. Groddeck calls the attention on the subject to be easily announced as the father of psychosomatic besides the originality and uniqueness of his theories. The main objective of this paper is to make a deeper reading of Groddecks work, categorizing it, emphasizing his intellectual production, giving it biographic context and enhancing his procedures to understand the historical context of his time. This work aim to subtract the concepts of psychosomatics found on Groddecks work before his contacts with Freud and psycanalisis passing by his biography and writings that approach the first world war. Sources are mainly primary ones / Pesquisas realizadas sobre o conceito Psicossomática apontam para muitos autores. Cada um deles com referencias teóricas próprias. Conseqüência disso é a falta de consistência na busca dessa definição. Com base nesse fato, a autora preferenciará a teoria de Georg Groddeck como tema central desta dissertação. Ele que, em um primeiro contato, já chama a atenção por ser considerado por alguns pesquisadores como o Pai da Psicossomática , também se destaca pela originalidade e genuinidade de sua teoria. O objetivo desta dissertação é realizar uma leitura mais detalhada da obra de Georg Groddeck, categorizá-la, enfatizar sua produção intelectual, situá-la dentro do referencial biográfico e ainda, tentar localizar sua obra dentro de um contexto histórico/teórico: O Romantismo e A Filosofia da Natureza. Com isso, a autora espera subtrair da obra de Georg Groddeck sua conceituação de psicossomática no período anterior aos seus contatos com Freud e com a Psicanálise, percorrendo sua biografia e escritos até data próxima à Primeira Guerra Mundial. A bibliografia estará principalmente centrada em fontes primárias

A dissertação versa sobre as relações entre poesia e música no século XIX, bem como sobre a produção poético-musical resultante dessa união. O argumento central é o de que os poetas românticos foram colher inspiração no medievalismo europeu na só para a construção de uma mitologia nacional (indianismo), mas também para a concepção de uma arte única, pautada por essa aliança entre poesia e música nos moldes trovadorescos. Essa conexão foi além da musicalidade implícita na poética do período. Alguns românticos, tal como os trovadores, buscaram integrar as duas artes a partir de poemas escritos especialmente para serem musicados e apresentados em circunstâncias performáticas. Assim, nasceu, no Brasil, a parceria: um poeta produzindo a letra e um compositor musicando-a. A prática de fundir essas duas manifestações artísticas num todo único iniciada pelos trovadores teve continuidade em alguns poetas românticos, principalmente os que freqüentaram a tipografia do editor Paula Brito, fundador da conhecida Sociedade Petalógica do Rossio Grande. Das reuniões dessa sociedade resultaram diversos poemas musicados em forma de modinha ou lundu, examinados aqui de modo a evidenciar os temas recorrentes, bem como as imagens e metáforas musicais neles presentes. Essa aliança trouxe popularidade e novo alento, tanto para a música popular, quanto para a poesia brasileira que encontrou nessa aliança um meio de difusão que suprisse a carência de um público letrado. / This dissertation examines the relations between poetry and music in the nineteenth century, as well as the poetic-musical production which results from this union. The central argument is that romantic poets took inspiration from european medievalism not only for building a national mythology (indianism) but also for the conception of an unique art form, ruled by this alliance between poetry and music in the troubadourish models. This connection went beyond the implicit musicality of that era\'s poetry. Some romantic poets, as troubadours, wanted to integrate both arts from poems specially written to be set to music and presented in performance venues. Thus, the partnership was born in Brazil: poets started to create lyrics and composers set them to music. The practice of blending these two artistic manifestations in only one, initiated by the troubadours, had continuity with some romantic poets, mainly those who attended the editor Paula Brito\'s typography, founder of the well known Sociedade Petalógica do Rossio Grande. From these meetings came several poems set to music in form of modinha or lundu examinated here in order to portray the recurrent themes, as well as images and musical metaphors existing in them. This alliance brought popularity and enthusiasm for the popular music as for the Brazilian poetry, which found in this alliance a way of diffusion that would supply the need of the scholarly public.

[pt] Investigação de como se configura hoje a representação do imaginário nacional na literatura brasileira - cujos momentos altos foram o Romantismo e o Modernismo - e pensar se ocorre um possível fim deste ciclo, uma vez que, como parece indicar o projeto Amores Expressos (Companhia das Letras / RT Features), a nação já não ocupa mais o centro de um sistema de significação na nossa literatura. Busca-se ver como nos primeiros romances já publicados pelo projeto – Cordilheira (2008), de Daniel Galera, O filho da mãe (2009), de Bernardo Carvalho e Estive em Lisboa e lembrei de você (2009), de Luiz Ruffato, ambientados respectivamente em Buenos Aires, São Petersburgo e Lisboa - a representação da realidade local e de uma identidade unificada e homogênea abre espaço para uma representação cosmopolita de um mundo cujas identidades estão em crise. / [en] This abstract presents an investigation of how the representation of the national image is established in brazilian literature, a period in literature when Romanticism and Modernism were the most remarkable. My aim is to investigate if it is possible to have closure to this cycle, since the project Amores Expressos (Companhia das Letras/RT Features) seems to indicate, the nation no longer occupies the center of a signifying system in our literature. The idea is to examine in the first novels published by the project - Cordilheira - (2008), by Daniel Galera, O filho da mãe (2009), by Bernardo Carvalho, and Estive em Lisboa e lembrei de você (2009), by Luiz Ruffato, which are set, respectively in Buenos Aires, Saint Petersburg and Lisbon.how the representation of the local reality and of a unified and homogeneous identity make space for a cosmopolitan representation of a world in which identities are going through a crisis.

Notre travail a pour but de déterminer la valeur accordée à un motif littéraire et son développement dans le corpus littéraire de l’auteur étudié. La réflexion sur la nature de Dieu représente une première réflexion sur l’être qui va se poursuivre dans l’étude de la nature njegošienne et sa notion de chaos. Cette notion de chaos introduit l’idée d’une possible opposition binaire entre principe de lumière et de chaos, d’ordre et de désordre, de bien et de mal. Notre recherche porte à démontrer, sur la base des textes, l’impossibilité philosophique et théologique d’une double ontologie chez Njegoš. Dieu est à la fois être et devenir. La création dialectale divine œuvre à l’union de l’essence et de l’être. La relation du temps et de l’éternité s’exprime par ce travail d’irradiation lumineuse dont le but final est l’introduction de l’univers à l’harmonie. L’ontologie détermine l’anthropologie, la christologie la nature de la lumière du microcosme, la figure divine celle du poète romantique. / The aim of this work is to determine the value given to a literary motive & its development in the literary body of the studied author. The study of the nature of God represents the first step in the study of the Being that further develops in the study of Njegoš’s concept of Nature & Chaos. The notion of Chaos introduces the idea of a possible binary opposition between the Principle of Light & Chaos, Order & Disorder, Good & Evil. The purpose of this research is to demonstrate, on the basis of the original author’s body of works, the philosophical & theological impossibility of a Dualistic Ontology. God is altogether being & becoming. The dialectal Divine Creating works on the union of the Essence & the Being. The relation of Time & Eternity is expressed by this work of luminous irradiating whose final aim is to introduce the Universe into Harmony. The Ontology determinates the Anthropology, the Christology the nature of the Ray of the Microcosm, the Figure Divine the Romantic Poet.