Thesis (Ph.D.)--Ohio University, June, 2005. / Includes bibliographical references (p. 200-215)

Thesis (Ph.D.)--Ohio University, June, 2005. / Title from PDF t.p. Includes bibliographical references (p. 200-215)

The diploma thesis focuses on diverse representations of the house in selected British novels since 1906. The novels have been chosen in reference to the importance assigned to houses in terms of plot, characters, and setting, each offering a unique vision of the house. A house is perceived as a home, as a possession or as a work of art. The novels by E.M. Forster, John Galsworthy and Simon Mawer are viewed through the prism of Phenomenology, namely the essays of Martin Heidegger, Jan Patočka and Anna Hogenová. This type of analysis provides an insight into the motivations of the individual characters, but also a deeper understanding of the function and role of the house in fiction as well as in reality. All the works are studied accordingly in the context of a wider social, cultural and aesthetic background. Key words: British fiction, Phenomenology, House, Home, Modernism, Work of Art

El límite como concepto plástico en la obra de Eduardo Chillida consiste en una investigación estética que desde un cariz fenomenológico, específicamente desde la óptica del filosofo alemán Martin Heidegger, pretende indagar en la obra del escultor vasco en su carácter de acontecimiento artístico-espacial. Concretamente, tomando como eje conceptual la noción de límite, entendida como categoría ontológica fundamental aplicada a la obra de arte. Esto siguiendo la línea propuesta por el filósofo barcelonés Eugenio Trías, que con su Filosofía del límite, sobre todo en relación al ámbito estético, nos proporciona un cauce adecuado y una sistematización para nuestra lectura sobre la obra del artista. De esta forma, se realiza una reflexión estética fundada en la categoría del límite, que en su desarrollo y radicalización artístico-conceptual, concluye con la relación que se establece entre el arte y la religión, partiendo de la obra de Eduardo Chillida. / The limit as an artistic concept in the work of Eduardo Chilida is an aesthetic investigation looking at the work of the Basque sculptor from a phenomenological viewpoint, applying the ideas of German Philosopher, Martin Heidegger and using the concept of the limit as a fundamental ontological category applied to his works of art. This notion of the limit follows the ideas of Barcelona philosopher, Eugenio Trías, who in his philosophical system, above all in relation to his aesthetic sphere, provides us with both the appropriate channels and structure for our approach to Chilida´s work. In this way, an aesthetic reflection based on the concept of the limit is made, in which its conceptual-artistic development concludes with the relationship established between art and religion.

Summary: This work approaches Patočka's philosophy of art from the perspective of ‚care of the soul'. The first part of work describes evolution of the ‚care of the soul' in context of Patočka's philosophy of history from he 30s up to 70s. Based on this description I recognize experience of the soul as the experience of human freedom as inseparable from the ethical and methaphysical dimensions. The second part approaches art from this perspective.Patočka's intepretations of art show that Patočka saw art not only as a manifestation of human freedom, but as reflection of human position in the world and his relation to aletheia as well. However, art stays half way between myth and philosophy due to the fact, that the movement of freedom is not as absolute in art as it is in philosophy. This is evident in expressions that art takes from the fields of our emotions and experience and thus still remains for Patočka in connection with the world and our everydayness. Therefore art represents for Patočka only limited experience of the soul. It is mostly the momentum of transcendence that is important and interesting for Patočka in art, but not the results that, no matter how deep, are still insights about the things in the world. Powered by TCPDF (www.tcpdf.org)