Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-20T14:47:41Z No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-21T13:19:51Z (GMT) No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5) / Made available in DSpace on 2017-03-21T13:19:51Z (GMT). No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5) Previous issue date: 2015-06-26 / Iniciamos apresentando, em nosso primeiro capítulo, o texto inaugural da filosofia da arte indiana, o Nāṭyaśāstra de Bharatamuni, com nossa atenção voltada aos capítulos I, VI, VII e XXXVI, os quais constituem, ao nosso ver, o núcleo da doutrina central da estética indiana, no que tange às artes performáticas em geral, incluindo dança, teatro e música, assim como implicações no campo da poesia, escultura e artes visuais. Tal núcleo pode ser relacionado aos conceitos de estados emocionais (bhāva), experiência estética (rasa), planos expressivos (abhinaya) e mímese (anukīrtana) influência se exerce tanto no campo especulativo, quanto no âmbito das formas e estilos artísticos. Em nosso segundo capítulo, abordamos duas vertentes medievais que retomam o pensamento de Bharata e desenvolvem doutrinas especulativas, em estreita conexão a dimensão da soteriologia, central para o pensamento indiano como um todo. Temos, assim, o que chamamos de poética da paz, no xivaísmo de Abhinavagupta, em contraste com a poética do amor, do vaixinavismo de Rūpa Gosvāmin. Em nosso terceiro capítulo, dirigimos nossa atenção ao âmbito mais concreto das poéticas, formas e movimentos artísticos. Sob esse escopo, desenvolvemos três tópicos: i) a aplicação da poética de Bharata no poema Xacuntalá Reconhecida de Kalidasa (poeta de corte do século IV d.e.c) e o contraste que se pode estabelecer com a poética grega de Aristóteles; ii) o processo de classicalização de alguns estilos de danças indianas, em meio às transformações sociais que tomam lugar no período pré-independência (segunda metade do século XIX e primeira do século XX d.e.c), marcado pelo nacionalismo e pela absorção do vitorianismo; iii) a centralidade da poética de Bharata no processo intensamente assimilacionista que resulta na linguagem comercial do cinema de entretenimento de Bollywood. Nesses três tópicos de nosso último capítulo, fica constatada a abrangência e centralidade dos conceitos empregados por Bharatamuni no âmbito da produção e compreensão da arte indiana. / On the first chapter, we explore the foundational text of Indian Aesthetics, the Nāṭyaśāstra, attributed to Bharatamuni (sec. II B.C.E to II C.E.). Our attention is on chapters I, VI, VII and XXXVI from the treatise, where one can find some of the main concepts of Indian philosophy of arts, namely: emotional state (bhāva), aesthetic experience (rasa), expression planes (abhinaya) and mimesis (anukīrtana). Such conceptual framework extends its influence over both the speculative and practical fields related to Indian arts. The second chapter is dedicated to two medieval developments of speculative thought, named, the aesthetics of peace, based on śanti-rasa, that characterizes the doctrine of the Kashmirian and shaivist philosopher Abhinavagupta; in contrast to the aesthetics of love, centered on śṛṅgāra-rasa, from the eastern vaishnava theologian, Rūpa Gosvāmin. On the third chapter, the focus is on more concrete applications of the poetics of rasa, including three topics: i) the perfect congruence between the poetics of Bharata and the artistic creation of Kālidāsa (court poet from the IV C.E.). Also we can contrast this congruence to what would be expected from an artwork that followed the Greek poetics described by Aristotle. ii) the second topic is an exposition about the classicalization process that takes place inside the intense Indian social reformism of the second half of XIX and the first half of XX centuries of the C.E., deeply marked by Nationalism and Victorianism. Inside this context, we can notice the centrality of the concept of aesthetic experience (rasa) on different discourses on art, even from the opposite points of view represented by Rukmini Devi and Balasaraswati. iii) finally, we focus on the entertainment industry of Bollywood, which idiosyncratic language among world cinemas can be explained by the centrality of the concept of mood – a common parlance word for aesthetic experience (rasa) and emotional state (bhāva) – largely used by technicians and artists from the cinema métier.

The rasa theory of Indian aesthetics is concerned with the nature of the genesis of emotions and their corresponding experiences, as well as the condition of being in and experiencing the aesthetic world. According to the Indian aesthetic theory, rasa ("juice" or "essence," something that is savored, that is tasted) is an embodied aesthetic experienced through an artistic performance. In this thesis, I have investigated how the aesthetics of rasa philosophy account for creative presence and its experiences in Karnatik vocal performances. Beyond the facets of grammar, Karnatik rāga performance signifies a deeper ontological meaning as a way to experience rasa, idiomatically termed as rāga-rasa by South Indian rāga practitioners. A vocal performance of a rāga ideally depends on a singer's embodied experience of rāga and rāga-bhāva (emotive expression of rāga), as much as it does on his/her theoretical knowledge and skillset of a rāga's svaras (scale degrees), gamakas (ornamentation), lakṣhaṇās (emblematic phrases), and so on. Reflecting on my own experience of being a Karnatik student and performer for the last two decades, participant observation, interviews, and analysis of Indian aesthetic theory of rasa, I propose a way of understanding that to sing rāga is to embody bhāva opening the space that brings rasa into being. Reflecting on the epistemology of rāga theory, particularly its smaller entities of svaras and gamakas, and through a phenomenological description of the process through which a vocalist embodies rāga (including how a guru transmits this musical embodiment to his shishya [disciple]), I argue that the notion of rāga-rasa itself has agency in determining the nature of svaras and its gamakas in a rāga performance. Additionally, focusing on the relationship between performers and rasikas (drinkers of the juice), this thesis examines how the embodiment of rāga-bhāva and the experience of rasa open the possibility for musicians and audiences to live rāga-rasa in a performance.