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(in English): This thesis deals with the sociology of art, its prevailing discourse and the search for other possible ways of taking a sociological approach to art. The text is divided into three complementary sections. The first section addresses the problem of the representation of art through the interpretation of art history as the history of display and the resulting conceptual duality of illusion versus schematicity. In the second section, the focus is on analysing the assumptions underlying the dominant stream of art sociology. These are the social determinations of artistic discourse, the denial of the axiology of art, the legitimisation of art on the basis of its social function, and the unequal approach of the perception of art in society. The relevance of these propositions is, in the present work, parsed in much the same way as the unifying theoretical framework underlying these premises, namely the Marxist aesthetic theory. The work presented in this thesis therefore identifies Marxist materialism as an agent of determinism and the levelling of values in the sociology of art, based on well-founded arguments, and concludes that the Marxist approach to art is unsatisfactory and destructive to sociology. In the end, the work seeks other ways for the sociological reflection of art, through...

This essay explores the sublime aspects in Edgar Allan Poe’s fictional horror, namely "The Tell-Tale Heart" (1843), "The Fall of the House of Usher" (1839) and "The Raven" (1839). The aim is to show that the sublime – an aesthetic experience articulated by Edmund Burke and Immanuel Kant amongst many – can make the reader oscillate between horror and safety. This essay also examines Poe’s works through the lens of Sigmund Freud’s concept of the uncanny to provide a contrasting, more nuanced analysis and understanding. The evidence presented in the analysis shows that Poe’s masterful use of writing techniques, including literary devices such as irony, demonstrates his unparalleled ability to simultaneously terrify and amaze his readers – the core idea of the sublime. Above all, the narrators in Poe’s works play a critical role in conveying the experience of the sublime, as their transgressive actions provide a lens through which the reader can experience both horror, wonder, and incomprehension. Poe’s works involve conflicts between imagination and reason, and rationality and irrationality, as well as the narrow border between the unfamiliar and the familiar – all concepts that tend to evoke both horror and awe. All combined, they have the power to evoke a feeling of the sublime – a concept that could undermine horror and thus make it more pleasurable to read.

Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.

La présente thèse se propose d’étudier la question de la littérature dans l’œuvre d’Adorno. Elle fait apparaître la fonction utopique que le philosophe attribue à la littérature en tant que celle-ci dessine l’horizon d’une « langue sans terre », ligne de fuite hors de la dialectique de la raison. Tandis que le discours philosophique a reproduit dans son appareil conceptuel la violence mythico-rationnelle à l’encontre du singulier non-identique, la langue littéraire semble en mesure d’indiquer la possibilité de parvenir par le concept au-delà du concept, ce qui constitue le désir utopique de la dialectique négative. L’enjeu n’est pas seulement épistémique : il est bien éthico-politique, lié à la possibilité d’établir des rapports à l’autre libérés de la contrainte de l’identité.Dans les œuvres littéraires dont il entreprend la lecture – qu’il s’agisse de celle d’Eichendorff, de Hölderlin, de Proust, de Valéry, de Beckett ou encore de Kafka – Adorno ne cherche cependant pas une figure concrète de l’utopie, mais la trace de « ce qui nous appartient en propre et qui a été laissé en blanc » – aussi bien dans les textes que dans l’Histoire. La littérature porte alors en creux ce possible impossible dont la puissance hante le présent entre ses lignes ; elle est de la réconciliation (Versöhnung) une image sans image, tout à la fois ressource de la critique radicale des conditions existantes et réserve du désir d’un autre à venir. / This dissertation proposes to study the question of literature in the work of Adorno. It shows the utopian function which the philosopher attributes to literature as it draws the horizon of a "language without soil", a line of flight from the dialectic of reason. While philosophical discourse reproduces in its conceptual apparatus the mythical-rational violence against the non-identical singular, the language of literature seems able to indicate the possibility of reaching beyond the concept with the help of the concept, which is the utopian desire of negative dialectics. The challenge is not only epistemic: it is ethical-political as well, related to the possibility of establishing relations with others which are freed from the constraints of identity.In the literary works which he studies – those of Eichendorff, Hölderlin, Proust, Valery, Beckett or Kafka –, Adorno does however not seek a concrete figure of utopia, but rather traces of "what is our own and has been left blank" - both in these texts and in History. In those blanks, literature contains the « possible impossible » which haunts the present ; it is the picture without picture of Reconciliation (Versöhnung), a resource for both a radical critique of existence and for the desire of the other to come.

Made available in DSpace on 2016-04-27T14:31:04Z (GMT). No. of bitstreams: 1 Alexandre Ricardo Marins.pdf: 1391947 bytes, checksum: bf47fa1ce4da493868ed3eba613d4f71 (MD5) Previous issue date: 2013-01-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The contemporary world has been facing many social contradictions associated with deep and overwhelming crises. As a result of such crises, we can observe a growing disengagement with the process of emancipatory humanization, in other words, instead of an emancipated consciousness, there is in fact a strengthening of oppressive, deteriorating conditions concerning life and human dignity. Besides all the problems caused by such crises, education has also suffered the oppression imposed by the ruling classes which try to impose their ideologies through educational programs that alienate and legitimize the maintenance of the status quo according to their concerns. Abandoning the commitment to reflection and the domain knowledge, school politics began to support this scenery. Facing these issues, and based on the ideas of Theodor Adorno, this dissertation analyzes Adorno s views about the meaning and scope of critical thinking for human emancipation, identifying the alienation elements in the educational environment that prevent such emancipation. We also discuss his ideas to overcome them. To develop this study, we worked with a qualitative research, applied on a group of graduating high school students from a model public school in the State of Minas Gerais. As a result, we present a discussion of the most important topics we came across: the relationship between alienation, education and work; the dialectics concerning the reified consciousness; the relationship between education and power; the role of critical thinking in education / O mundo contemporâneo tem presenciado diversas contradições sociais que estão associadas a crises profundas, difíceis de serem superadas. Como consequência dessas crises, percebe-se o crescente descompromisso com o processo de humanização emancipatória, ou seja, no lugar da consciência emancipada o que se promove é a alienação opressora que deteriora as condições de vida e a dignidade humana. Além dos problemas gerados por essas crises, a educação também tem sofrido com a opressão regida pelas classes dominantes que tentam impor suas ideologias através de programas educacionais que alienam e legitimam a manutenção do poder em suas mãos. Ao abandonar o compromisso com a reflexão e com o domínio do conhecimento, a educação escolar passou a apoiar tal situação. Diante dessas questões, e fundamentada nas ideias de Theodor Adorno, a presente dissertação de mestrado assume o objetivo de investigar a teoria desse pensador a respeito do significado e do alcance do pensamento crítico para a emancipação humana, identificando no ambiente educacional elementos de alienação que impedem tal emancipação e propondo pistas de reflexão para superá-los. Para tanto, valeu-se de pesquisa qualitativa exploratória, aplicada em um grupo de alunos concluintes do Ensino Médio de uma escola pública de referência, no interior do Estado de Minas Gerais. Como resultado, apresentam-se para discussão temas importantes como: a relação entre alienação, formação e trabalho; a dialética diante da consciência coisificada; a relação entre educação e poder; o papel do pensamento crítico na educação

The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

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The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity. As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.

The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity. As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.