Made available in DSpace on 2014-12-17T15:12:15Z (GMT). No. of bitstreams: 1 LisHAK_DISSERT.pdf: 1005916 bytes, checksum: e11196bd1f3513443c4fc42761ed7164 (MD5) Previous issue date: 2011-12-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / In preparing the book Art and Space - originally titled Die Kunst und der Raum (1969) - together with the work of Eduardo Chillida, and devote the text written to the sculptor, Heidegger seems to see in the works of Chillida some of his key themes rescued and reunited. This fusion of content and thought was revealed in his dialogue, at another moment, with the poetry of Friedrich H?lderlin. This dissertation aims to present some of the fundamental concepts in Heidegger's work, especially space, place and art; as well as explain the dialogue between these concepts and the works and thoughts of the sculptor Eduardo Chillida. Amongst the main points of this convergence of thought between the philosopher and the sculptor, we can find: the definition of art; the relationship of world and earth; the thinking about the place of art nowadays; and the meanings of interspace, to incorporate and make the space positive / Ao construir o livro A Arte e o espa?o - intitulado originalmente Die Kunst und der Raum (1969) - juntamente com Eduardo Chillida e dedicar o seu texto ao escultor, Heidegger parece ver nas obras de Chillida alguns de seus temas fundamentais resgatados e reunidos. Essa mesma fus?o de conte?do e pensamento Heidegger pareceu encontrar em seu di?logo travado, em outro momento, com a poesia de Friedrich H?lderlin.O que se pretende com este trabalho de disserta??o ? apresentar alguns conceitos fundamentais em Heidegger, notadamente sobre espa?o, lugar e arte, assim como o modo como estes dialogam com as obras e o pensamento do escultor Eduardo Chillida. Dentre os pontos principais dessa converg?ncia de pensamento entre o fil?sofo e o escultor, encontramos: a defini??o de arte; a rela??o mundo e terra; o pensamento acerca do lugar da arte nos dias atuais; e os significados de espa?ar, in-corporar e de positivar o espa?o

This is an investigation between the material and the word - the search for a method within the architectural discipline.

This thesis follows a topic of visible and invisible in the poetry and the essays of the Spanish writer active in the second half of the 20th century, José Ángel Valente. It situates the author in his historical and literary context and presents the evolution of his work. After that, it focuses on three of Valente's sources of inspiration and it outlines the conception of speech and artwork in Heidegger, the approach to space of sculptor Eduardo Chillida and the work with matter of painter Antoni Tàpies. The visible and the invisible are indirectly observed in Valente by means of more or less concrete representation and relationship to the reality, in visual characteristics, such as light and darkness, colours and shapes, and in the problematics of the sight. The visibility, the invisibility and the transparency directly manifest themselves in Valente's conception of matter and form and the word's manifestation and they also appear as motifs in his texts.

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.