La presente investigación tiene como objetivo principal mostrar que los conceptos hermenéuticos de comprensión y lenguaje que fundamentan la hermenéutica filosófica de Hans-Georg Gadamer tienen consecuencias sustanciales y poco reconocidas en el ámbito de la filosofía práctica. Dichas consecuencias nos permitirán mostrar, además, que hay una reflexión ética y política en el pensamiento gadameriano, que tiene su origen en su obra principal Verdad y método. Fundamentos para una hermenéutica filosófica (1960) y que sigue desarrollándose hasta su obra tardía. Al respecto, debemos considerar que realizaremos nuestra investigación teniendo como referente principal esta obra capital de Gadamer. No obstante, haremos referencia también a diversos artículos, ensayos y conferencias sobre filosofía práctica que Gadamer escribió hasta 40 años después de VM, pues aquellos dan continuidad o esclarecen los conceptos propios de su pensamiento hermenéutico, y por tanto, nos ayudarán a matizar nuestro planteamiento sobre la relación entre la hermenéutica y la filosofía práctica.

El trabajo que presentamos tiene fundamentalmente como objetivo exponer las problemáticas de la historicidad y la finitud tal como éstas se plantean en el pensamiento filosófico de Hans-Georg Gadamer. Dichas problemáticas serán abordadas a lo largo de los dos primeros capítulos de la tesis en su articulación esencial y en la tercera parte mostraremos su conexión con el tema de la lingüisticidad de la existencia

Gadamer takes the experience of art as his epistemological clue to uncover the ontological ground of the human sciences, so they need not mimic the natural sciences. Art is for him exemplary in going beyond the methodical application of general laws and taking seriously the particular case at hand, unafraid of exploring the play of truth and the truth of play. Gadamer's hermeneutic project entails active listening in a dialogue where understanding is an event, and thus cannot be forced by fitting the other, the text or the artwork into a pre-established framework. Such an attempt, perhaps implicit in Greek metaphysics, is evident in the Western pattern of technological domination through objectification of phenomena. This is what Gadamer seeks to counter by recovering humanist Bildung as a cultivated consciousness encompassing ail directions at once in a praxis of empathy, thereby unseating the methodological privilege of theory to allow for a lived experience of the event of truth. / Gadamer prend l'expérience de l'art comme indice épistémologique pour l'élucidation du fondement ontologique propre des sciences humaines, en vertu duquel celles-ci n'ont pas à imiter les sciences naturelles. L'art lui en fournit le modèle, en ce qu'il ne s'arrête pas à l'application méthodique de lois générales et prend au sérieux chaque cas particulier, ne craignant pas d'explorer le jeu de la vérité et la vérité du jeu. Son projet herméneutique fait appel à une écoute active, en un dialogue où la compréhension est un événement qui survient librement, et non en faisant entrer de force dans un cadre préétabli l'autre, le texte ou l'oeuvre d'art. Une telle tentative, en germe dans la métaphysique grecque, a livré ses fruits amers dans la posture occidentale de domination technologique par objectivation des phénomènes. Gadamer cherche à la contrer en ayant recours aux ressources de la Bildung humaniste comme conscience cultivée s'étendant dans toutes les directions à la fois en une praxis à base d'empathie, détrônant par là le privilège méthodologique de la théorie pour lui substituer l'expérience de la vérité comme événement de vie.

L'objectif de ce mémoire est de montrer comment Gadamer parvient à apporter une légitimation philosophique à la vérité des sciences humaines sans recourir aux critères méthodologiques de la science moderne. Comme ces critères ne permettent pas de reconnaître le statut gnoséologique de certaines expériences que nous faisons, comme l'expérience esthétique ou l'expérience de notre appartenance à l'histoire, il est nécessaire de se questionner si celles-ci appartiennent, malgré cela, au champ de la connaissance ou si elles doivent en être exclues. Dans la mesure où les sciences humaines prennent en charge une part de ces expériences, en tant qu'héritières de la tradition humaniste, il est à se demander ce qui justifie leur prétention à la vérité. Selon une perspective herméneutique, Gadamer s'efforce de sonder les modalités propres au savoir des sciences humaines, ce qui l'amène à renouer avec la philosophie pratique d'Aristote, qui lui sert de modèle épistémologique pour penser la vérité de l'expérience humaine dans sa globalité. En s'inspirant aussi de l'analytique heideggérienne de la temporalité du Dasein, Gadamer parvient à fournir aux sciences humaines un fondement dans « les choses elles-mêmes », permettant ainsi d'en démontrer la pertinence autant sur le plan cognitif qu'existentiel.

Le dessein de ce mémoire est de repérer la motivation éthique qui préside à une phénoménologie de l'expérience herméneutique dans Vérité et Méthode de Hans-Georg Gadamer. La dimension éthique de l'expérience est inséparable des ressources de la tradition humaniste et rhétorique, de la réappropriation de la phronēsis aristotélicienne et de l'apport de la dialectique platonicienne. La signification unitaire de ces divers «moments» éthiques montre à quel point les modèles de la phronēsis et du dialogue s'imposent à l'ensemble de l'expérience humaine. Nous devons apercevoir en eux l'unité de notre être-historique et de notre être-langagier. L'herméneutique rappelle ainsi que toute recherche humaine de sens s'inscrit dans la facticité de l'homme dont le savoir ne se sépare ni de l'être ni de son application à une situation concrète. Ayant pris conscience de l'indépassable conditionnement historique de son savoir, l'homme qui veut approfondir la connaissance de soi devra entrer en dialogue, avec soi-même ou avec d'autres, dans le but de relativiser les prétentions de son savoir situé.

"One of the most contentious issues in aesthetics is whether or not there can be truth in art. This is so because the question of the possibility of truth in art implicitly assumes two other fundamental questions: the nature of truth and the nature of human understanding. In his treatment of truth in art, Gadamer comes down roundly on the side of the possiblity of truth in art. In this thesis, I show how Gadamer's approval of truth in art hinges on his notion of hermeneutics and his belief in art's transformative power, and propose that his account of truth in art is still a viable and creative approach to the question today. After taking a look at the Kantian, Heideggerian, and Aristotelian background with which Gadamer is operating in his treatment of truth and art, I trace where this led Gadamer, specifically in the sense of his move to have aesthetics so closely connected to hermeneutics. Through interaction with work by Mary Devereaux, I highlight some concerns over Gadamer's use of tradition and of order as a fundamental feature of the artwork, and give an account of how those concerns may be addressed."

This dissertation proposes to examine the work of scholars Christine de Pizan and Luce Irigaray in order to develop the possibilities of fiction in philosophy for the purposes of social transformation. Using four of her major narrative texts (The Mutacion of Fortune, the City of Ladies, the Path of Long Study and the Vision) I show how Christine employs the complex array of hermeneutical tools available to her in fictionalized ways as a means of training her readers into re-writing their understanding of themselves and their contexts. Alongside such re-writings, I show that she understands herself to have a particular vocation for educating the powers of France towards ethical action in their governance, and that she does so in these works in the form of philosophically oriented fictionalizations. I use the work of Luce Irigaray to explore a philosopher from the twentieth and twenty-first century who uses narrative and hermeneutical tools that bear a family resemblance to Christine's. Tracing Irigaray's formulations on the necessity of sexual difference I show how she re-tells stories from myth and history in such a way as to develop the sexual difference she desires. Finally, having engaged with these two philosophers, I use the hermeneutical work of Hans-Georg Gadamer to present my own work on how well-crafted fiction can be used to build philosophical concepts and understandings that are not yet available in our world, but which become available to us through our participation in the new fictionalized contexts and fictional worlds we create. I show how it is through understanding the possibilities this kind of philosophical and fictionalized utopic thinking holds that social transformation rooted in the world-building capabilities of individual persons can occur.

Made available in DSpace on 2015-04-14T14:23:17Z (GMT). No. of bitstreams: 1 431358.pdf: 369231 bytes, checksum: dd27d072e90f3dd45d19e8a6e268d42a (MD5) Previous issue date: 2011-02-28 / Tese (Doutorado em Educa??o) - PUCRS, Fac. de Educa??oPartimos do entendimento de que o pensamento de Gadamer constitui-se em uma alternativa plaus?vel aos desafios contempor?neos ? forma??o. Nesse sentido, esta tese aborda a articula??o entre est?tica e forma??o a partir de Hans-Georg Gadamer, considerando a experi?ncia est?tica no encontro do homem com a obra de arte e no encontro entre os homens. As argumenta??es foram tecidas no horizonte da Hermen?utica Filos?fica. Para tal, revisamos a est?tica cl?ssica, abordando Plat?o e Arist?teles, a est?tica moderna, com destaque especial a Kant, Schiller, Hegel. Apresentamos as argumenta??es de Gadamer quanto ? dimens?o ontol?gica da obra de arte, pois lhe permitiram ultrapassar a distin??o est?tica, apresentar a percep??o como articula??o e a experi?ncia est?tica como ontol?gica. Esse percurso possibilitou maior entendimento do processo formativo, na media em que demonstra que, quem faz a experi?ncia da arte, coloca-se em jogo, ? desafiado a ser outro, porque a obra de arte como sera?, a seu modo, diz algo a cada um. Assim, a experi?ncia da arte, marcada por uma pluralidade de experi?ncias, constitui-se em importantes momentos autoformativos, na medida em que pode gerar tanto abertura como coroamento de processos, demarcando identidades. E isso pode ser percebido tanto na experi?ncia do homem com a obra de arte quanto na experi?ncia entre os homens, diferentes modos de ser. Dessa forma, ao conceber a experi?ncia est?tica como experi?ncia ontol?gica, Gadamer n?o s? reconfigurou o pensamento filos?fico, conferindo novo lugar ? est?tica, como conferiu atualidade ? Bildung. Portanto, sua proposta constitui-se em uma resposta plaus?vel aos desafios contempor?neos, especificamente, ? forma??o marcada pelo empobrecimento da experi?ncia

Made available in DSpace on 2015-04-14T14:34:16Z (GMT). No. of bitstreams: 1 391902.pdf: 123571 bytes, checksum: 49336c9192b27ef4b4871c55cc15020b (MD5) Previous issue date: 2007-05-09 / O presente trabalho transita entre duas ?reas do conhecimento: a Filosofia e o Direito. ? resultado de um estudo que visa ? aproxima??o da hermen?utica filos?fica de Hans- Georg Gadamer com a hermen?utica jur?dica, tendo como objetivo apresentar alguns dos principais conceitos tratados pelo autor e discutir a possibilidade de sua aplica??o ? interpreta??o na esfera do Direito. A abordagem te?rica envolveu, al?m da pr?pria perspectiva filos?fica central de Gadamer, a pesquisa de autores que fazem uma an?lise dos seus pressupostos. Buscou-se exemplificar, ainda, tal aplica??o, por meio de uma poss?vel leitura ampliada do conceito de c?rculo hermen?utico proposto pelo autor. Verificou-se, afinal, que determinados conceitos fundamentais da filosofia de Gadamer tais como o c?rculo hermen?utico, a tradi??o, a dist?ncia temporal, a consci?ncia da hist?ria dos efeitos e a aplica??o como forma de compreens?o s?o aplic?veis ? hermen?utica jur?dica, possibilitando uma reflex?o mais aprofundada e dial?tica dessa ?rea. Trata-se, portanto, de um estudo qualitativo, de cunho explorat?rio, cujos procedimentos metodol?gicos partiram de levantamento bibliogr?fico, com esfor?o de tradu??o dos textos originais.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-01-22T11:38:29Z No. of bitstreams: 1 TES_MAURICIO_MARTINS_REIS_PARCIAL.pdf: 449656 bytes, checksum: e05ccdc237109adfb48828ef39f704d0 (MD5) / Made available in DSpace on 2016-01-22T11:38:30Z (GMT). No. of bitstreams: 1 TES_MAURICIO_MARTINS_REIS_PARCIAL.pdf: 449656 bytes, checksum: e05ccdc237109adfb48828ef39f704d0 (MD5) Previous issue date: 2015-12-18 / This research is in charge of responding whether philosophical hermeneutics, which became autonomous within the framework of the thought of Hans-Georg Gadamer the claim of universality of the hermeneutical problem attribute, may be qualified as genuine philosophy. The underlying theme of the thesis covers the main features of Gadamer's philosophical hermeneutics in order to promote a kind of internal criticism about its corresponding assumptions, especially those that revolve around the universal primacy of the historicity of understanding. It advocates the need to counteract against the transcendental horizon of meaning, significantly accentuated by philosophical hermeneutics through the incidence of historical understanding that runs through each interpretation about the world, the transcendental horizon of normative validity, responsible for critical and reflective bypass any thought that title itself as legitimately philosophical. In these terms, hermeneutics as philosophy, to achieve the desired universality platform, must claim at the same time the substrate of normative rationality validation, so as not to incur into a kind of ontological hypertrophy, acting just like a redundant substitute hermeneutics of Heidegger's philosophy. Furthermore, philosophical hermeneutics should resist, with equal caution of self-criticism, in stimulating too much of this counterpart reflective validity in order to challenge the arrogant place able to propel the verdict of the final word or the last intransitively foundation considered as an ultimate point of view, behold the assumption of its universality stands on the critical path of the metaphysical finitude, that is, on the horizon of a program stripped of absolute or totalitarian overtones. / Trata a presente investiga??o de responder se a hermen?utica filos?fica, autonomizada nos marcos do pensamento de Hans-Georg Gadamer pela reivindica??o do atributo da universalidade do problema hermen?utico, pode ser qualificada genuinamente como filosofia. O fio condutor da tese percorre as principais caracter?sticas da hermen?utica filos?fica gadameriana com a finalidade de promover uma esp?cie de cr?tica interna a partir dos correspondentes pressupostos, especialmente os que giram em torno do primado universal da historicidade da compreens?o. Preconiza-se a necessidade de contrapor ao horizonte transcendental de sentido, significativamente acentuado pela hermen?utica filos?fica pela incid?ncia da compreens?o hist?rica que atravessa toda e qualquer interpreta??o acerca do mundo, o horizonte transcendental de validade normativa, respons?vel pela deriva??o cr?tica e reflexiva de qualquer pensamento que se intitule como legitimamente filos?fico. Nesses termos, a hermen?utica enquanto filosofia, para alcan?ar-se na pretendida plataforma de universalidade, precisa reivindicar concomitantemente o substrato da racionalidade normativa de valida??o, de maneira a n?o incorrer na hipertrofia do ontol?gico, como se fosse um substitutivo redundante da filosofia hermen?utica de Heidegger. Ademais, a hermen?utica filos?fica dever? resistir-se, com igual prud?ncia de autocr?tica, no est?mulo demasiado desta contrapartida de validade reflexiva, de maneira a contestar o lugar arrogante capaz de impulsionar o veredicto da palavra final ou da fundamenta??o ?ltima intransitivamente considerada como derradeiro crit?rio, eis que a assun??o de sua universalidade se sobressai no caminho cr?tico da metaf?sica da finitude, isto ?, no horizonte de um programa despido de conota??o absoluta ou totalit?ria.