A proposta desta dissertação incide sobre a discussão das possibilidades e potencialidades do ensino de Filosofia na etapa do ensino médio abordado sob a perspectiva de suas conexões com o ideal de formação. Uma vez que a pesquisa seguiu o caminho de relacionar a formação com a metanarrativa emancipadora do Iluminismo, foi importante examinar até onde persiste a força desse ideal, que passa a não ter a mesma resguarda de legitimação de outrora. Esta forma de encaminhar o debate está baseada na discussão sobre a pós-modernidade proposta por Jean-François Lyotard. Partindo destas considerações, a pesquisa buscou examinar textos que abordam a relação do ensino de filosofia com o ideal de formação na situação contemporânea recorrendo a autores como Celso Favaretto, Silvio Gallo, Walter Omar Kohan e Franklin Leopoldo e Silva. Após examinar o que se entende por ideal de formação assim como a forma que ela pode ser associada a uma metanarrativa emancipadora e também suas conexões com o ensino de filosofia, a pesquisa discute aspectos chaves da filosofia de Lyotard para pensar a educação e também voltar a refletir sobre quais maneiras o ensino de filosofia pode tomar forma no cenário atual. / The purpose of this dissertation is to focus on the discussion of the possibilities and potentialities of the teaching of Philosophy - in high school level - approached from the perspective of its connections to the formation ideal. Once the search has taken the path of relating formation with the emancipatory metanarrative of the Enlightenment, it was important to examine how far the strength of this ideal remains, which does not have much of the same legitimacy protection as before. This way of routing the debate concerns the discussion of postmodernity proposed by Jean-François Lyotard. Based on these considerations, the research sought to examine texts that approach the teaching of philosophy related to the formation ideal in the contemporary situation counting on authors such as Celso Favaretto, Silvio Gallo, Walter Omar Kohan and Franklin Leopoldo e Silva. After examining what is meant by formation ideal - as well as how it can be associated with an emancipatory metanarrative - and its connections with the teaching of philosophy, the research discusses key aspects of Lyotard\'s philosophy to reflect on education and also to re-think about what ways the teaching of philosophy may take shape in the current scenario.

A proposta desta dissertação incide sobre a discussão das possibilidades e potencialidades do ensino de Filosofia na etapa do ensino médio abordado sob a perspectiva de suas conexões com o ideal de formação. Uma vez que a pesquisa seguiu o caminho de relacionar a formação com a metanarrativa emancipadora do Iluminismo, foi importante examinar até onde persiste a força desse ideal, que passa a não ter a mesma resguarda de legitimação de outrora. Esta forma de encaminhar o debate está baseada na discussão sobre a pós-modernidade proposta por Jean-François Lyotard. Partindo destas considerações, a pesquisa buscou examinar textos que abordam a relação do ensino de filosofia com o ideal de formação na situação contemporânea recorrendo a autores como Celso Favaretto, Silvio Gallo, Walter Omar Kohan e Franklin Leopoldo e Silva. Após examinar o que se entende por ideal de formação assim como a forma que ela pode ser associada a uma metanarrativa emancipadora e também suas conexões com o ensino de filosofia, a pesquisa discute aspectos chaves da filosofia de Lyotard para pensar a educação e também voltar a refletir sobre quais maneiras o ensino de filosofia pode tomar forma no cenário atual. / The purpose of this dissertation is to focus on the discussion of the possibilities and potentialities of the teaching of Philosophy - in high school level - approached from the perspective of its connections to the formation ideal. Once the search has taken the path of relating formation with the emancipatory metanarrative of the Enlightenment, it was important to examine how far the strength of this ideal remains, which does not have much of the same legitimacy protection as before. This way of routing the debate concerns the discussion of postmodernity proposed by Jean-François Lyotard. Based on these considerations, the research sought to examine texts that approach the teaching of philosophy related to the formation ideal in the contemporary situation counting on authors such as Celso Favaretto, Silvio Gallo, Walter Omar Kohan and Franklin Leopoldo e Silva. After examining what is meant by formation ideal - as well as how it can be associated with an emancipatory metanarrative - and its connections with the teaching of philosophy, the research discusses key aspects of Lyotard\'s philosophy to reflect on education and also to re-think about what ways the teaching of philosophy may take shape in the current scenario.

Submitted by JOÃO PAULO COSTA DO NASCIMENTO null (jpcn@yahoo.com.br) on 2018-02-05T18:02:25Z No. of bitstreams: 1 NASCIMENTO JoaoPauloCosta DOUTORADO.pdf: 10002723 bytes, checksum: 0980dc4d7701ec421cc9535cd6563768 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-02-07T17:00:13Z (GMT) No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) / Made available in DSpace on 2018-02-07T17:00:13Z (GMT). No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) Previous issue date: 2017-12-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O filósofo francês Jean-François Lyotard (1924-1998) desenvolve uma estética calcada no conceito de sublime a partir de seus escritos sobre arte pertencentes às décadas de 1980 e 1990. Tais formulações são pertencentes ao seu período filosófico caracterizado como virada kantiana, embasado na leitura da filosofia crítica de Kant, porém, com nuances de influência burkeana. O presente trabalho tem por objetivo investigar os conceitos descritores desta estética do sublime de Lyotard, bem como a maneira como eles são utilizados no comentário de questões da música, em especial, das vanguardas musicais do século XX. Pretende-se problematizar o papel da música na constituição da estética de Lyotard, bem como o alcance e adequação dos compositores elencados pelo filósofo como exemplos de autores comprometidos com os valores do sublime. Apresenta-se por hipótese principal a afirmação de que o sublime de Lyotard encontra uma adequação privilegiada e singular na obra do compositor norte-americano Morton Feldman (1926-1987), devido à busca pelo despojamento do espírito-sujeito-consciência presente tanto na obra do filósofo quanto na obra ensaística e musical do compositor. Como consequência, conclui-se que uma crítica musical que deseja abordar as presentes questões do sublime demanda uma escrita ensaística que ecoa uma filosofia do acontecimento, evocando a abertura de determinação da linguagem em favor de uma maneira (e não um método) de investigação de tipo reflexiva, nos termos da leitura que Lyotard realiza da Crítica da Faculdade do Juízo de Kant. / The French philosopher Jean-François Lyotard (1924-1998) develops an aesthetic based on the concept of sublime from his writings on art from the decades of 1980 and 1990. Such formulations belong to his philosophical period characterized as Kantian turn, based on the reading of Kant's critical philosophy, but with nuances of Burke's influence. The present work aims to investigate the descriptive concepts of Lyotard’s aesthetic of the sublime, as well as the way they are used in the commentary of music issues, especially those of the musical avant-gardes of the twentieth century. It is intended to problematize the role of music in the constitution of Lyotard's aesthetics, as well as the scope and appropriateness of the composers listed by the philosopher as examples of authors committed to the values of the sublime. The main hypothesis is the assertion that Lyotard's sublime finds a privileged and singular fit in the work of the American composer Morton Feldman (1926-1987), due to the search for the divestiture of the spirit-subject-consciousness present both in the work of the philosopher and in the essayist and musical work of the composer. As a consequence, it is concluded that a musical critique that wants to address the present issues of the sublime demands an essayist writing that echoes a philosophy of the event, evoking the opening of language determination toward a manner (and not a method) of reflexive type of investigation, in terms of Lyotard's reading of the Kant’s Critique of the Faculty of Judgment.

Notre thèse de maîtrise en histoire de la philosophie s’intéresse au débat esthétique, sociologique, politique et philosophique qu’a suscité l’apparition de la notion de « postmoderne ». Plus précisément, nous nous penchons sur l’intervention marxiste anglo-américaine dans ce débat au cours des années 1980 à travers l’examen de trois auteurs — Marshall Berman, Fredric Jameson et David Harvey — qui y ont contribué de manière significative. Afin de lever le voile de la confusion quant aux diverses significations attachées au champ lexical de « postmoderne », nous aurons recours au concept heuristique de la « question postmoderne » qui permet de distinguer trois niveaux de signification — culturel-esthétique, théorie du changement social, philosophico-historique —, mais aussi de les rassembler et de discuter du « postmoderne » dans sa généralité. La réponse marxiste à la question postmoderne fut hautement dépendante des interventions de Daniel Bell et Jean-François Lyotard et leur présence dans ce travail permettra de comprendre le contexte intellectuel et conceptuel avec, notamment, la nature de la transition entre le modernisme et le postmodernisme esthétiques, l’émergence d’une société postindustrielle et l’idée d’une postmodernité comme crise de légitimation des métarécits de la modernité. Nous examinons de quelle manière Berman, Jameson et Harvey ont traité de la question postmoderne dans leurs écrits s’étendant du début des années 1980 à la fin de cette décennie. L’on pourra voir que ce marxisme anglo-américain ne s’oppose pas de prime abord aux notions de « postmodernisme » ou de « postmodernité », bien qu’il craigne les illusions idéologiques qui accompagnent ces notions et tendent à obscurcir le rôle joué par le capitalisme dans les transformations sociales et culturelles.

Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.

The purpose of this essay is to analyze award-winning author Ray Bradbury’s novel Fahrenheit 451 through the lens of postmodernism. The focus will be on identifying symbols and signs of the hyperreal when it comes to freedom of speech, censorship, and technology through Jean Baudrillard’s orders of simulacra from his book Simulacra and Simulation. The images of Ray Bradbury’s dystopian society in Fahrenheit 451 are analyzed, as well as the main characters and their relationship to technology, books, censorship, and freedom of speech. This essay also argues that the hyperreal is relevant today and has been throughout history if knowledge is suppressed or controlled by society as presented in Fahrenheit 451.

This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.

This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.

This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.