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The year 1759 saw the arrival in Paris of the abbe Galiani as secretary to the Neapolitan Embassy. His initial feelings of disappointment diminished as he was welcomed in the most important salons of Paris, where he met the principal Encyclopedistes, including Diderot. / This thesis is a thorough study of the intellectual and human association between Diderot and Galiani: the circumstances of their encounters, especially between 1760 and 1769 when Galiani was forced to return to Naples; their mutual friends, and the areas of common interest which attracted these two encyclopaedic minds, such as literature, especially the theatre, the arts and Antiquity, science, economics, politics and philosophy. / Along with a systematic analysis of these fields of mutual interest, the aspects of Galiani's personality which attracted Diderot to him have been studied. Particular emphasis is placed on what Diderot learned from Galiani, especially in economics and politics, and the role Galiani played in the crystallization of Diderot's thought. This is all the more significant in that the Diderot-Galiani friendship was consolidated at a critical point in the development of the philosopher's thought.

Orientador: Roberto Romano da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T07:37:19Z (GMT). No. of bitstreams: 1 CarbonelliJunior_RicardoRuiLento_M.pdf: 835432 bytes, checksum: 46cf5a2bc2256b611827b9e223f45fc8 (MD5) Previous issue date: 2009 / Resumo: A dissertação trata da análise da obra "Paradoxo sobre o comediante" no contexto da estética de Diderot. Sua tese fundamental diz que um grande ator é insensível e não deve sentir as emoções que representa. O enunciado é analisado tomando-se o significado dos seus termos no sistema do Filósofo. As idéias de sensibilidade, representação, gênio, imaginação e o conceito de Belo são discutidos a partir de seus textos e de comentários clássicos sobre o tema. Na primeira parte, tratamos da articulação dos conceitos fundamentais da estética de Diderot e como isso se dá de forma problemática, suscitando alguns paradoxos. Também tratamos do lugar que o espetáculo ocupa nessa estética, do objetivo de efeito teatral orientando o desenvolvimento da arte como forma de comunicação e das particularidades próprias de sua tradução visual. Na segunda parte procuramos discutir os conceitos fundamentais para o "Paradoxo" e pensar a estética e a filosofia de Diderot a partir de seus postulados. Na última parte fazemos uma apresentação da obra que orienta nossa pesquisa, tratando das questões historiográficas e abordando seus temas a partir do próprio texto. / Abstract: The dissertação deals with the analysis of the book "Actor's Paradox" in the context of Diderot's aesthetic. Its basic thesis says that a great actor is insensitive and should not feel the emotions that represent. The statement is analyzed by taking the meaning of the terms in the system of the Philosopher. The ideas of sensitivity, representation, genius, imagination and the concept of Beautiful are discussed from his texts and classic commentaries on the subject. In the first part, we deal with the articulation of the basic concepts of the aesthetic of Diderot and how it occurs in a problematic form, exciting some paradoxes. Also we deal with the place that the spectacle occupies in that aesthetic and the objective of theatrical effect guiding the development of the art as communication form and of the proper particularitities of its visual translation. In the second part we look for to discuss the basic concepts for the "Paradox" and to think the aesthetic and the philosophy of Diderot from its postulates. In the last part we make a presentation of the book that guides our research, treating to the historiographical questions and approaching its themes from the text itself. / Mestrado / Mestre em Filosofia

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Québec Université Laval, Bibliothèque 2018

The purpose of this thesis is to examine the letters of Diderot to Sophie Volland for the year 1759 as they are a source of important autobiographical, social, and psychological elements that shed light on Diderot's private and public life. In fact a turning point in the sentimental relationship between Diderot and Sophie Volland, the death of his father, the difficulties experienced in publishing the Encyclop6'die and consequently the coolness in his friendship with D'Alembert make 1759 a crucial year in Diderot's life. The conclusion reached is that the stylistically beautiful and modern letters to Sophie Volland of this year are self-revelatory for they show that the events of 1759 made a great psychological impact upon Diderot and started a process of maturity in his character. These letters can undoubtedly be considered a major part of Diderot's work and they can certainly contribute to a deeper understanding of this genius.

The purpose of this thesis is to examine evidences of dramatic technique in Diderot's three major fictional works, "La Reliieuse," "Le Neveu de Rameau," and "Jaccues le fataliste." The management of dialogue, setting, and gesture is of particular concern, along with style and structure and the recurrent theme of the actor. The conclusion reached is that the influence of dramatic technique is everywhere present in the three works under consideration. Diderot enlists the reader's visual and auditory participation by the use of fast-paced dialogue, striking gestures, and dynamic settings. He also borrows certain stylistic and structural devices from the theater and enhances the dramatic impression by presenting many of his main characters as actors playing their own special roles.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-30T11:40:08Z No. of bitstreams: 1 Carolina Ribeiro Paraíso Araujo.pdf: 800039 bytes, checksum: 20bfee2d80f717e3d15ea8646ebac1f7 (MD5) / Made available in DSpace on 2016-11-30T11:40:08Z (GMT). No. of bitstreams: 1 Carolina Ribeiro Paraíso Araujo.pdf: 800039 bytes, checksum: 20bfee2d80f717e3d15ea8646ebac1f7 (MD5) Previous issue date: 2016-09-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The purpose of this dissertation is to present the importance of the theatre according to Denis Diderot point of view. Thus, based on his thoughts, try to understand the purposes of which, the philosopher will demonstrate from the representative act, in France during the 18th century. Diderot suggests an improvement in the way of making theatre, as well as in its own theatrical representations. The philosopher will determine a theory for the actors to improve their performances. The performances should be based on nature observation, aiming to be studied and represented with pure rationality. In this regard, he gives emphasis to artificiality in disadvantage of nature to create perfection in a scene. In Diderot’s point of view, the theatre should be and do the job of remove society’s addictions and make people work on their virtue. In addition, theater plays should approach people’s busy lives and through that he suggests and introduces a new genre called drama and it is a genre that can be classified as intermediate, being in between tragedy and comedy / A presente dissertação tem como intuito analisar a importância do teatro no pensamento de Denis Diderot. Portanto, buscamos como isso entender os propósitos, aos quais o filósofo evidenciará a partir do ato representativo na França do século XVIII. Diderot, não só propõe uma reforma no modo de fazer teatro como também nas próprias representações teatrais. O filósofo irá formalizar uma teoria para que os atores pudessem aprimorar suas atuações. Estas devem ser pautadas na observação da natureza, com a finalidade de serem estudadas e representadas com a mais pura racionalidade. Neste sentido, o enciclopedista enfatiza a artificialidade em detrimento da natureza para existir a primazia em cena. O teatro para Diderot deveria ser e fazer o papel de expurgar os vícios da sociedade, fazendo com que os indivíduos aprimorassem a virtude. Além do mais as peças teatrais deveriam retratar a vida corriqueira das pessoas e com isso propõe e inaugura um novo gênero, este seria o gênero sério ou drama, o qual é intermediário, está entre a tragédia e a comédia