The author's Habilitationsschrift--Universität Innsbruck, 1983. / Includes indexes. Bibliography: p. 393-410.

[pt] O presente texto propõe verificar o sublime e a música em Adorno. Para tanto, três objetivos centrais serão seguidos. O primeiro visa verificar o surgimento do sublime. De objeto de investigação filosófica do tratado Do Sublime atribuído à Longinus e a posterior tradução, por Boileau, avançaremos para a sua recepção e repercussão na Inglaterra oitocentista, especificamente, Burke. Em seguida, analisaremos o sublime em Kant, visando dialogar com as considerações adornianas a cerca do sublime, configurado pelo filósofo como enigma, e as obras de vanguardas artísticas, a Nova Música. O segundo objetivo debruça-se sobre a Nova Música, verificando sua contribuição para o entendimento do sublime em Adorno. Para tanto, analisaremos as possíveis ligações e desdobramentos presentes nesta nova proposta radical musical, denominada por Adorno, de esfera despadronizada, quando, comparadas à esfera de obras musicais, ditas, padronizadas. Formularemos a hipótese de que a Nova Música esteja imbricada, tanto com o sublime em Burke, notadamente, via expressionismo musical, bem como, com o sublime matemático kantiano, dada à incomensurabilidade de suas possibilidades composicionais advindas do dodecafonismo schonberguiano, para finalmente receber, em Adorno, o tratamento de enigma. O terceiro e último objetivo foca no fetichismo musical e o seu desdobramento em regressão auditiva, decorrência principal, nas artes musicais, da Indústria Cultural. Mediante tal análise, aventaremos a hipótese, de que a regressão auditiva, paradoxalmente aos sombrios prognósticos adornianos, descortinou também, os novos rumos para a música ocidental. Através da liberação das dissonâncias e do uso da série, advindas da mesma Segunda Escola de Viena, surgiram os movimentos de música concreta, eletrônica e eletroacústica, permitindo-se um novo tratamento musical para o ruído, transformando-o assim, no mais novo elemento composicional. As conclusões centralizam-se na questão principal da categoria estética artística musical, o sublime. Por meio de sua análise, interpretação e entendimento, permite-se uma aproximação ao tratamento dado por Adorno a certas obras musicais, sinalizadas pelo filósofo, como pertencentes ao âmbito do sublime musical. Esperamos contribuir, com esta pesquisa, para uma maior aproximação com o sublime e a crítica musical em Adorno. / [en] This dissertation focuses on Adorno s treatment of the music phenomenon under aesthetic s category of the sublime. To do so, we will follow three main goals. The first one deals with the debate of the sublime in Philosophy. Its beginning as an object of philosophical enquiry since Do Sublime Treaty, attributed to Longinus, appeared for the first time in history. It s enduring echos in France through its French translation by Boileau, as well its reception and repercussions in the eighteenthcentury England with Burke s Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beuatiful. Kant s sublime will be analyzed shortly afterwards, in order to deal with Adorno s considerations on the sublime and the avantgard movements. Our attention will be focused on the enigmatic element which was analyzed by Adorno in some artworks, especially those of the New Music stream. Our second goal is about the discussion of the Adornian concepts of New Music.Our aim here is to decide whether these concepts as presented by Adorno, can still be of any use to understand as well as to call music sublime. At the same time it will be analyzed the strong bounds and developments that can t be avoid to be grasped between this new kind of radical musical proposal so called by him as, the sphere of non standardized music, thus drawing a parallel with the standardized music sphere. This will lead us to hypothesize that New Music, as observed by Adorno, is deeply bound up with the Burke s ideas about the sublime, notably seen by means of the music compositions on the expressionism period, as well to Kant s mathematically sublime through the immeasurable possibilities of music compositions brought by the dodecaphonic and serial techniques. As a result, it will be seen by Adorno as a great enigma, a riddle, a puzzle, due to its mystery nature which never allows to be entirely signified. On our final goal we intend to examine the regression of listening as the main after effect of the Culture Industry on music by means of the Fetish-Character, which is directly responsible for a turnaround of artworks into commodities whose only fate will be to serve as goods, thus being consumed by the majority. Paradoxically Adorno s voice of doom about the regression of listening in our modern society can be hypothesized today as a new path for western music. The full usage of the noise which was the one of the mainly results of the dissonance s freedom promoted by the same Second Viennese School which Adorno was a zealous believer, a new tool for the contemporary music composition was devised. By turning the noises into a new compositional tool through the serialism technique, the post modern music has arrived. Our conclusions attempts to centralize around the main question of the aesthetic s category of the sublime in music. By its analysis, as well as its interpretation and its knowledgement, it can lead us the way to approach and elucidate Adorno s treatment of certain music artworks as belonging to the sublime realm. We truly hope to have provided with this research a reliable contribution to music critique not only those belonging to the realm of New Music but, to all the new music artworks, that follow its streams throughtout the XX century and beyond.

Made available in DSpace on 2014-12-17T14:20:21Z (GMT). No. of bitstreams: 1 VantieCCO_TESE.pdf: 1618422 bytes, checksum: 908450c71911456ed4c68e731558acfc (MD5) Previous issue date: 2011-04-08 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work has a study object the main thinking work of Johan Kaspar Schmidt well known as Max Stirner (1806-1856) - originally titled (in German), Der Einzige und sein Eigentun, and translated into Portuguese by the Portuguese publisher Ant?gona in 2004, under the title The Unique and its Ownership. This book was known in 1844 although its publication dated 1845 seen that the censor of that time rejected the publication request in that year - saying that ( ) in concrete passages of that work, not only God, Christ, the church and the religion are usually object of proposal blasphemy, but also because all social order, the state and the government are defined as something that should not exist simultaneously as one justifies the lie, perjury, the murder and suicide and denies the ownership right. After this first attack and rejection by its bearing the unique come to be others target, due practically to all the philosophical political thinkers its time including thinkers like Ludwig Feuerbach and Karl Marx & Friedrich Engels in spite of, on the other hand, having inspired formulations and reformulations of many of those thinkers that were against then in their times, as well as those thinkers that came after then such as Nietzsche himself. Even though this work was be victim of powerful attempts of erasing it of history, it has shown a great repercussion power and that is the main reason that led us to ask the following questions what is its big originality? , how could his author arrive at a so impactant perspective? What is its most legitimate political place? We endeavored in elaborate answers to those questions trough the exegesis of its text, taking in account both the scholarship environment where the author produced his intellectual life set - and the detailed reading of texts linked to discussion in focus, where this reading is always based upon the meaning and senses traced by the texts and its contexts as a precaution against the limits and the traps of the readings which shed light markedly on strict letter of the phrases constructs. Ours conclusions point at to the idea that a work like this , that subverts the characteristic ways of thought of the modernity, completely, continues being a utter odds, without rank in the history of thought and the moderns political practices, finding parallel possibility only, in a very special way, with a certain autharchic perspective of Ancient Greece / Este trabalho tem como objeto de estudo a principal obra do pensamento de Johan Caspar Schmidt - mais conhecido como Max Stirner (1806 1856) -, originalmente intitulada (em alem?o), Der Einzige und sein Eingentum, e traduzido para a l?ngua portuguesa - pela editora portuguesa Ant?gona - no ano de 2004, sob o t?tulo de O ?nico e a Sua Propriedade. Esta obra se tornou p?blica no ano de 1844, apesar de sua publica??o ter sido datada de 1845, visto que o censor da ?poca rejeitou o pedido de sua publica??o - naquele ano sob o argumento de que: (...) em passagens concretas desse escrito, n?o apenas Deus, Cristo, a Igreja e a Religi?o em geral s?o objeto da blasf?mia mais despropositada, mas tamb?m porque toda a ordem social, o Estado e o governo s?o definidos como algo que n?o deveria existir ao mesmo tempo em que se justifica a mentira, o perj?rio, o assassinato e o suic?dio, e nega o direito de propriedade . Ap?s este primeiro ataque e rejei??o sofridos j? no seu nascedouro, O ?nico viria a ser alvo de outros, por parte de, praticamente, todo o espectro do pensamento filos?fico-pol?tico de sua ?poca incluindo a? pensadores como Ludwig Feuerbach e Karl Marx & Friedrich Engels -, apesar de, por outro lado, ter servido de inspira??o para formula??es e reformula??es dos pensamentos de muitos daqueles que o atacaram em sua ?poca, bem como de outros pensadores posteriores, tais como o pr?prio Nietzsche. Mesmo tendo sido vitimada por poderosas tentativas de lhe apagar da hist?ria, esta obra tem demonstrado grande poder de percutir e foi isto o que nos levou a formular as seguintes quest?es: Qual ? a sua grande originalidade? , Como o seu autor p?de chegar a uma perspectiva t?o impactante? e Qual ? o seu lugar pol?tico mais leg?timo? Empreendemos um esfor?o de elaborar respostas pertinentes a estas quest?es pela via da exegese de seu texto, atribuindo relev?ncia tanto ao ambiente intelectual em que o seu autor a produziu seu contexto de vida intelectual quanto ? leitura pormenorizada dos textos atinentes ? discuss?o em foco, leitura essa sempre pautada pela aten??o aos significados e sentidos delineados pelos textos em seus contextos, como forma de precau??o contra os limites e as ciladas das leituras cujo foco incide marcadamente sobre a estrita letra das constru??es fraseol?gicas. Nossas conclus?es apontam para a id?ia de que uma obra como esta, que subverte completamente os modos de pensar caracter?sticos da modernidade, continua sendo completamente singular, inclassific?vel na hist?ria do pensamento e das pr?ticas pol?ticas modernas, s? vindo a encontrar alguma possibilidade de paralelo, de modo muito especial, com certa perspectiva aut?rquica da Gr?cia aC

Esta dissertação trata da constituição da noção de Psicologia em Para Além de Bem e Mal. O conceito de psicologia constitui um elemento chave para compreendermos os escritos de maturidade de Nietzsche porque está diretamente associado à hipótese da vontade de poder. Defendemos que a psicologia nietzscheana se apresenta como uma crítica à concepção moderna de sujeito. No lugar da noção moderna de subjetividade o filósofo destaca a relevância das instâncias infraconscientes na determinação da dinâmica e estruturação dos corpos. Ao enfatizar esse "mundo interior" Nietzsche nos conduz a uma nova interpretação acerca da moral._________________________________________________________________________________________ ABSTRACT: This is a dissertation on the constitution of the notion of Psychology in Beyond Good and Evil. The concept of psychology is a key element to the understanding of Nietzsche?s mature writings for it is directly associated to the hypothesis of will to power. We reclaim that the nietzschean psychology presents itself as a critique to the modern conception of subject. Instead of the modern notion of subjectivity Nietzsche highlights the importance of infra-conscient instances in the determination of the dynamics and structures of bodies. On emphasizing this "inner world" Nietsche drives us to a new interpretation concerning morals.

Orientadores: Lidia Maria Rodrigo, Rogerio Miranda de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-13T12:56:12Z (GMT). No. of bitstreams: 1 Mendonca_Samuel_D.pdf: 1039928 bytes, checksum: a75b7005ab8e199160c5569fca715df8 (MD5) Previous issue date: 2009 / Resumo: A pergunta que motivou a presente investigação foi formulada assim: em que consiste a educação aristocrática em Nietzsche? A tese formulada de que é possível conceber a educação aristocrática em Nietzsche por meio do perspectivismo e da autossuperação do sujeito apontou uma educação individual, do destaque, do homem solitário; educação da exceção. Essa educação que sugere a autocrítica como elemento para a autossuperação do sujeito não é para todos, mas para os que têm reverência por si. A metodologia, bibliográfica, consistiu na análise de escritos de Nietzsche e de importantes comentadores. O referencial teórico utilizado, o perspectivismo, diz respeito à proposição extraída de A Gaia Ciência, fragmento 374, de que tudo na natureza é interpretação e nada mais. Nietzsche assume a proposição segundo a qual não temos o conhecimento absoluto da verdade. A tese da educação aristocrática em Nietzsche apontou, em última instância, a produção filosófica como aristocrática. / Abstract: Abstract: The question which motivated the present investigation was formulated by this way: in what consists the aristocratic education by Nietzsche? The thesis formulated is that it is possible to understand the aristocratic education by Nietzsche from perspectivism and self-overcoming of subject ways pointed to an individual education, of separation, the lonely man; education of exception. This education that suggests the auto-critics like an element to the self-overcoming of subject is not for everyone, but for the ones who have reverence for themselves. The methodology consisted at Nietzsche writings and important commentators by bibliographic view. The theorical referential utilized, the perspectivism, is about the preposition extracted from The Gay Science, 374 fragment, that everything in nature is about interpretation, nothing more than that. Nietzsche assumes the preposition that we do not have the absolute knowledge of truth. The thesis of aristocratic education of Nietzsche pointed, at last interpretation, that the philosophic production is aristocratic. / Doutorado / Historia, Filosofia e Educação / Doutor em Educação

Orientador: Jesus José Ranieri / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T09:00:17Z (GMT). No. of bitstreams: 1 Pasti_HenriqueBuonani_M.pdf: 2590663 bytes, checksum: e309b9f86ea7bee9c4e1525aad389d09 (MD5) Previous issue date: 2012 / Resumo: O tema do presente estudo é a teoria da cultura, tal qual formulada pelo filósofo e sociólogo alemão Georg Simmel (1858-1918) em diferentes momentos de sua produção teórica. O estudo toma por objeto um determinado recorte bibliográfico em meio à obra do autor, composto de textos que vão de 1889 a 1911, fundado no entendimento de que essas várias versões dadas por Simmel à teoria da cultura podem ser melhor compreendidas separadas em três momentos: (1) Nas primeira formulações que abordaremos a cultura não é a temática central, mas aparece subordinada à discussão sobre o papel do dinheiro na modernidade. Tal debate parte de uma discussão do papel dos meios - o dinheiro é o meio por excelência, na medida em que funciona como mediador universal para a obtenção dos mais variados fins - mobilizados em vista de fins mais complexos; a cultura aparece aí tematizada como resultado do aprofundamento dessa séries teleológicas. (2) Num segundo momento, Simmel fala em duas esferas da cultura: aquela objetiva, composta pelas variadas obras engendradas pela alma, que nelas se exterioriza, perdendo sua mobilidade em favor de uma existência objetiva e perene; e a subjetiva, a própria alma singular, que se exterioriza em formações objetivas para posteriormente tentar ressubjetivá-las. Esse processo de cultivo, que envolve a objetivação e a ressubjetivação das formas exteriorizadas porque a alma carece de meios, encontrar-se-ia ameaçado na modernidade, em vista da desproporção entre ambas as esferas (a esfera objetiva obtendo prevalência sobre a subjetiva), devido, fundamentalmente, ao que Simmel identiVca como processo de "objetificação dos conteúdos da cultura." (3) Finalmente, Simmel desenvolve mais profundamente essa separação entre as duas esferas da cultura, que passa a ser considerada como um relacionamento "trágico", em vista de que surgem do interior do próprio processo de cultivo as forças que levam à sua destruição: a própria necessidade da vida contida na alma exteriorizar-se em formações objetivas leva ao acirramento dessa cisão, uma vez que as formas que ela engendra acabam por defrontá-la como coisas estranhas. Essa nova fórmula, que vê no processo de cultivo mesmo seus "germes destrutivos" (que pode ser considerada uma tragédia "imanente") não substitui o diagnóstico anteriormente desenvolvido, que observa um acirramento dessa separação como consequência da modernidade e que tem por causas fundamentais o predomínio de uma economia monetizada, o aprofundamento da divisão do trabalho e o consequente recrudescimento da racionalidade calculista / Abstract: The present study addresses the issue of the theory of culture as it was developed by the german philosopher and sociologist Georg Simmel (1858-1918) in different moments of his work. It takes as object a given bibliographic frame in the author's work, compound of texts from 1889 to 1911, and departing from the viewpoint that these various versions given by Simmel to the theory of culture can be better understood if separated in three moments: (1) The first formulations do not deal immediately with culture, but the latter is discussed secondarily to the issue concerning the role of money in modernity. Such debate departs from a discussion on the role of means, which are mobilized in the pursue for more complex ends - money is the perfect medium insofar it works as an universal mediator towards the achievement of the more diverse ends -; thus, culture is here adressed as a result of such deepening of teleological chains. (2) In a second moment, Simmel speaks of two spheres of culture: the objective one, compounded by the various works of the human soul, which exteriorizes itself in them by losing its character of constant mobility in exchange of a still and timeless existence; and the subjetive one, the very individual human soul which exteriorizes itself in objects which by its turn it tries later to reinsert in its own realm. Such a cultivation process involving the objectivation and re-subjectivation of the exteriorized forms is menaced in modernity, given the actual disproportion between boths spheres (with the prevalence of the objective culture over the subjective one) which is indebted by Simmel to the "objectification of the contents of culture." (3) Finally, Simmel develops this idea of the separation between the spheres of culture in the sense of a tragic relationship, once he perceives the emergence of the forces that lead to the destruction of subjetive culture within itself: the very need of life, which remains contained within the singular soul, to externalize itself into objective forms would lead to the intensification of such split, since the forms that life develops end up facing it as strange things. This new formula that sees within the very cultivation process its own "destructive germs" (one that might be considered an "immanent" tragedy) does not abandon the diagnosis developed earlier, which perceives such deepening as a consequence of modernity, having as main causes the prevalence of a money economy, the deepening of the division of labor and the consequent recrudescence of the calculative rationality / Mestrado / Sociologia / Mestre em Sociologia

Understanding Kant’s account of desire is vital to the project of evaluating his views about moral psychology, as well as his account of freedom qua autonomy. In Anthropology from a Pragmatic Point of View, Kant claims that “Desire (appetitio) is the self-determination of a subject's power through the representation of something in the future as an effect of this representation” (7:251). My goal is to clarify which of the subject’s specific capacities Kant means by the “subject's power,” and what role this capacity plays in desire. I argue that the subject's power cannot be her capacity to act. Rather, the subject's power is best understood as her capacity to generate the psychological states that cause action. I call these motivational states 'activation signals'. Desire consists in the self-determination of the subject’s capacity to generate activation signals by her representation of the object of desire together with an accompanying incentive.

This paper is a study of the major influence of the German philosophy, Krausism, in the writings of Benito Perez Galdds. The study is an analysis of the effects of this ideology on Spain and her people, as illustrated in the works of the most representative writer of the nineteenth century in that country. Also included is a discussion of historical incidents of the period which is necessary to place the acceptance of both this philosophy and the works of Perez Galdos in its proper perspective.

La « philosophie de l’histoire » de l’idéalisme allemand, si l’on entend par là un ensemble de thèses permettant de découvrir un sens de l’histoire, a fait l’objet de nombreux travaux, en particulier celle de Hegel. Mais la réflexion des penseurs idéalistes sur l’histoire ne s’est pas limitée à l’interprétation des événements historiques passés. Une large part a consisté au contraire à élaborer un concept d’histoire dont l’extension ne se limite pas aux transformations sociales et politiques des groupes humains (mais qui concerne l’ensemble des productions humaines, voire la nature elle-même), et dont la compréhension ne recoupe pas l’usage de cette notion dans la conscience commune. Il nous a semblé que l’originalité de Hegel et de Schelling résidait notamment dans la richesse qu’ils attribuent à ce sens ontologique de l’histoire (conçue comme Geschichte et non comme Historie). Notre travail a consisté à interroger précisément la manière dont Hegel et Schelling ont élaboré un tel concept, qu’il vaudrait mieux qualifier d’événementialité ou d’historicité, pour le distinguer de la connaissance ou du récit de ces événements. Nous avons proposé ainsi de clarifier le sens du concept d’histoire par une comparaison des différentes formes de temporalité (temps naturel, temps de la conscience, histoire, durée, éternité) et de leur rôle respectif dans les systèmes de Hegel et de Schelling, de façon à souligner le caractère central du problème de l’historicité au sein de ce corpus, et à suggérer de quelle façon sa compréhension a déterminé le positionnement ultérieur des philosophes « post-idéalistes » (de Marx et Kierkegaard à l’idéalisme britannique ou à l’École de Francfort). / Many scholars have treated the “philosophy of history” developed by German idealists as a set of arguments designed to find a purpose in history. Yet the idealist thinkers did not limit their investigation to the interpretation of past historical events. On the contrary, a significant part of their work is dedicated to outlining a concept of history that is not limited to social and political transformations affecting human groups, but instead includes the totality of humanity’s creations, and even nature itself. This concept of history differs, sometimes radically, from how the term “history” is, and has been commonly understood. The source of the difference is Hegel and Schelling’s focus on such a rich ontological meaning of the notion of history (taken as Geschichte, as opposed to Historie). This thesis traces how Hegel and Schelling developed this concept, which might be more aptly characterised as historicity, to distinguish it from the knowledge or the chain narration of past events. It thus clarifies the meaning of the concept of history by comparing different forms of time (natural time, psychological time, history, duration, eternity) and their respective roles in Hegel’s and Schelling’s systems. This comparison is intended to underline the centrality of the problem of historicity in German idealism, and to suggest how its understanding has shaped the development of “post-idealist” European philosophy (from Marx and Kierkegaard to British idealism or to the Frankfurt School).

L’œuvre de Hans Blumenberg, reçue d’abord pour son apport au débat sur la sécularisation et sa proposition d’une « métaphorologie », trouve son centre de gravité dans une anthropologie philosophique originale et complexe. C’est à celle-ci que notre thèse se consacre, en prenant acte du fait qu’« anthropologie » et « homme » sont les noms de deux problèmes avant d’être ceux d’un champ de savoir et de son objet. Si la pensée de Blumenberg s’élabore en premier lieu dans un dialogue critique avec la phénoménologie, ce n’est pas pour lui adjoindre le chapitre anthropologique qu’elle aurait omis, mais pour réformer de fond en comble ses thèses, sa méthode et ses principes implicites. Il ne s’agit pas non plus de retourner simplement aux questions et réponses traditionnelles que la philosophie a formulées à propos de l’homme. S’interrogeant, dans la lignée de l’anthropologie philosophique allemande, sur la possibilité de l’homme, Blumenberg oriente sa réflexion dans une voie « négative », dont notre travail s’attache à rendre raison autant qu’à interroger les limites. Avec l’image d’un homme fondamentalement « démuni », un être lacunaire, que les descriptions et narrations de l’auteur mettent en scène, ne retrouve-t-on pas une conception « prométhéenne », qui reconduit les présupposés qu’elle critiquait pourtant ? Notre interprétation vise, dans une analyse des procédures discursives que l’auteur met en œuvre et une discussion des thèses qu’il propose, à faire valoir leurs ambivalences, tout autant que leur fécondité. Ce qui est à lire, en dernière instance, dans l’œuvre de l’auteur, c’est un ensemble d’approches historiques et philosophiques de la « seconde nature » de l’homme, qui décrit les inquiétudes inhérentes à sa condition culturelle, autant que les intermittences du sujet. / First appreciated for the contribution made to the ‘Secularisation’ debate, along with its conception of ‘Metaphorology’, the work of Hans Blumenberg represents a complex and original philosophical anthropology, the core reflections of which form the central focus of this dissertation. We begin from a point of questioning whether “anthropology” and “man” are not simply terms used to describe a field of academic practice and it’s topic of study, but rather two distinct issues to be examined. The dominant motive of Blumenberg’s thought is to be found in a critical dialogue with phenomenology, but he is not interested in simply contributing an anthropological ‘chapter’ to the field, rather he works to criticise and seek a total reform of the theses, methodology and implicit principles therein. He similarly refuses to rerun the familiar philosophical debates regarding man, instead questioning the possibility of man, inspired by the German philosophical tradition. This thesis will assess and critically consider this ‘negative’ turn in Blumenberg’s thought. Do his descriptions and narrative conveying the human as a fundamentally lacking being not tend to invoke a ‘promethean’ conception of man, the very assumptions of which they seek to criticise?Through analysis of Blumenberg’s discursive procedures and consideration of his theses, our interpretation intends to demonstrate their sense of ambivalence as well as their considered abundance. Ultimately, what is to be found in the work of this author is a collection of approaches to the ‘second nature’ of man which together describe the unease inherent in the cultural condition, as well as the intermittencies of the subject.