Diss. (sammanfattning) Alnarp : Sveriges lantbruksuniv., 2001. / Härtill 4 uppsatser.

Irving Singer's theory of value declares itself a member of american naturalistic and pragmatic tradition. It refuses metaphysical speculation on behalf of empirism and stresses the processual character of every experience, focusing more on its imaginatively-affective rather than rational part. Singer distinguishes two basic types of valuation: appriciation of an object, seen as an instrument for a given function, and spontaneous bestowal of value, which values the object on the basis of its own qualities - generating an affective attachement in the process. In a healthy organism, both ought to cooperate to support the fullness of life-in-the-world. Their harmonization is a matter of aesthetics as recognized in the case of love or works of art. This thesis criticizes Singer's project from its own point of view - the american naturalism. In the first chapter, it describes closely Singer's point-of-departure and places it within historical tradition. The matter of the "intrinsic value controversy" is drawn here as well. Following two chapters probe into the pillars of Singer's systém - the conceptions of appriciation, bestowal, imagination and idealization. In comparison with the doctrines of John Dewey, George Santayana and christian situational ethics, fundamentally eclectical character of Singer's...

Diss. (sammanfattning) Alnarp : Sveriges lantbruksuniv. / Härtill 5 uppsatser och 1 bildbil.

Made available in DSpace on 2015-05-14T13:27:11Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1010992 bytes, checksum: 522a8fda5cf74bbcce241a208070f8a3 (MD5) Previous issue date: 2013-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Our work approaches one of the central issues of the sociology of art that is related to the challenge of analyzing sociologically works of art without disregarding its intrinsic value. This question leads us to approach the challenges of studying the art recognizing both its critical power (able to promote emancipation of consciences against the iron cage of modern rationality), as its reifying use (that allows and promotes social distinctions based on an aesthetic discourse of naturalization of taste). But how can we perform this operation? How could be possible to think the aesthetic value of the artwork through sociology of art? How to do this without turning it into a self-referential value and not, at the same time, underdetermining it for more general and externalist considerations? These questions led us to direct our perspective about the values problem in sociology of art to its more direct reference in the practice of sociology, the art objects analysis. Considering this, we tried to analyze the barriers and possibilities that some methodological procedures of sociology offer us in the treatment of the artistic object, recognizing it as one of the components of a triad (dynamic and historical) composed of relatively autonomous elements, namely: work of art, author and social structures. To do so, we choose the methodological programs of Howard Becker, Pierre Bourdieu and Antonio Candido as a place from where our problematizations would start, looking, however, not to do a proselytizing analysis of their methods. So, what we seek with this work is not properly to reflect on a "new method most appropriate for the sociology of art, but, on the need of a treatment of aesthetic value by the sociologists of art that consider the nuances and complexity of such a field, not leaving it as sole jurisdiction of aesthetes and academic critics of art that sometimes treat it as autotelic or without references to its ethical content. / Nossa dissertação gira em torno de uma das problemáticas centrais da sociologia da arte que diz respeito ao desafio de se analisar sociologicamente as obras de arte sem que seu valor intrínseco seja perdido. Tal questão remete-nos aos desafios de abordarmos a arte reconhecendo tanto sua potência crítica (capaz de promover uma emancipação das consciências frente à jaula de ferro da racionalidade moderna), quanto seu uso reificador (que permite e promove distinções sociais baseadas em um discurso estético da naturalização do gosto). Mas, como poderíamos realizar essa operação? Como seria possível pensar o valor estético da obra de arte via sociologia da arte? Como fazer isso sem transformá-lo num valor auto-referenciado e nem, ao mesmo tempo, subdeterminá-lo por considerações mais gerais e externalistas? Essas questões nos levaram a direcionar o nosso olhar sobre o problema dos valores na sociologia da arte para a sua referência mais direta na prática da sociologia, ou seja, a análise dos objetos artísticos. Nesse sentido, procuramos analisar os entraves e as possibilidades que alguns procedimentos metodológicos da sociologia nos oferecem no tratamento do objeto artístico, reconhecendo-o como um dos componentes de uma tríade (dinâmica e histórica) composta por elementos relativamente autônomos, quais sejam: obra de arte, autor e estruturas sociais. Para tanto, escolhemos os programas metodológicos de Howard Becker, Pierre Bourdieu e Antonio Candido como lugar de onde partiriam as nossas problematizações, procurando, contudo, não fazer uma análise proselitista de seus métodos. Assim, o que buscamos com este trabalho não é propriamente refletir sobre um novo método mais adequado para a sociologia da arte, e sim, sobre a necessidade de tratamento do valor estético por parte dos sociólogos da arte que considere as nuances e a complexidade de tal domínio, não o deixando como competência exclusiva dos estetas e críticos acadêmicos da arte que, por vezes, o tratam como autotélico ou sem fazer referências ao seu conteúdo ético.

In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance. / Philosophy

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

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniv., 2003. / Härtill 5 uppsatser.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Este trabalho propÃe-se a um estudo do livro Quarto de despejo (1960), de Carolina Maria de Jesus, associando-o à modalidade de criaÃÃo literÃria e perspectiva conceitual que optamos por chamar de literatura vista de baixo. Entendemos por esta Ãltima categoria a produÃÃo literÃria das camadas sociais subalternas e marginalizadas socialmente e, simultaneamente, uma perspectiva teÃrica que valorize as diferenÃas entre esse tipo de literatura e a literatura erudita, historicamente associada Ãs elites sociais e culturais em diferentes espaÃos e perÃodos. Na obra em questÃo à narrado o dia-a-dia miserÃvel e violento da autora, na hoje extinta favela do Canindà e tambÃm nos percursos que faz pela cidade de SÃo Paulo, entre os anos de 1955 a 1960, dentro do quadro polÃtico e ideolÃgico conhecido em nossa historiografia como âdesenvolvimentismoâ, pautado por vertiginoso crescimento urbano e industrializaÃÃo do paÃs. Nosso objetivo geral Ã, alÃm de investigar como a criaÃÃo literÃria, nos planos do conteÃdo e da expressÃo, foi condicionada, no livro Quarto de despejo, pela origem de classe e a situaÃÃo de misÃria de sua autora, desenvolver a noÃÃo de âliteratura vista de baixoâ como uma chave teÃrica para explicar os limites da representaÃÃo da pobreza pela literatura culta do Brasil. Procuramos, ao mesmo tempo, traÃar um breve panorama da representaÃÃo da pobreza na literatura brasileira pÃs semana de 22, a partir de autores e obras-chave de nossas letras, analisando de que forma o universo erudito literÃrio relacionou-se com o mundo material e mental das classes subalternas. Tentamos tambÃm mostrar as consequÃncias temÃticas e formais que advÃm da inversÃo de lugar do pobre, quando este passa de objeto para sujeito de sua prÃpria representaÃÃo literÃria. As bases teÃricas principais das anÃlises realizadas nesse projeto serÃo os estudos de Antonio Candido sobre a relaÃÃo entre literatura e sociedade (CANDIDO, 1965) e de Roberto Schwarz sobre a representaÃÃo da pobreza na literatura brasileira (SCHWARZ et alli, 1983), bem como a consulta de obras historiogrÃficas e sociolÃgicas que abordam a literatura e as questÃes de poder, como os trabalhos de Carlo Guinzburg (2006) e Pierre Bourdieu (2009) sobre a micro-histÃria e o poder simbÃlico, respectivamente.

The thesis attempts to discuss the character of late Romantic literature and art as it developed in England throughout the Victorian period. It follows the assertion made by G. Hough that it is possible to identify a continuous presence of Romantic ideas and methods in the writings of some major Victorian authors, and reflects the fact that there was actually no consensus or prevailing unequivocal view of Romanticism at that time, as is evidenced in the contradicting statements of such writers as John Ruskin and Walter Pater. The first objective of the thesis is thus to define the characteristic features of English Romanticism as they can be tracked down in the formative period of the 18th century and the time of High Romanticism of the first decades of the following century, and to see what transforming changes these characteristics underwent during the Victorian era. The sources of Romantic sensibility are located in the revolutionary role of the scientific discoveries of the 17th century and a new focus of the philosophical writings of that period, concerning mainly operations of the human mind. This development resulted in new aesthetic conceptions based on the two prevailing approaches, empiricism and Neo-Platonism. These theories conditioned the main concern of Romantic thought, i.e. an...

This Master's thesis deals with a critique of popular music by the British conservative philosopher Roger Scruton. It is based on a premise that this critique is not purely aesthetic, as it is deeply rooted in Scruton's conception of art, culture, and man. The first part of the thesis, therefore, deals with this broader context, and its outcome is an explanation of the reasons why Scruton rejects popular music as an integral part of popular culture. The second part of the thesis focuses on Scruton's philosophy of music, in other words, on questions of musical aesthetics: what the ontological status of music is, what the nature of its meaning is, what its value is, and what its 'ethical power' is. The third part is devoted to the critique of popular music itself: first, the concept of popular music is clarified, and then the outputs of the two previous chapters are linked to fully grasp Scruton's condemnation of popular music. In the end, the thesis points to problematic aspects of Scruton's theory: it questions the adequacy of applying the model of evaluating classical music to the case of popular music.