Made available in DSpace on 2015-08-20T17:10:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-20. Added 1 bitstream(s) on 2015-08-20T17:25:56Z : No. of bitstreams: 1 000841172.pdf: 1126715 bytes, checksum: 74d1263162a94bdea5f2edde140e168b (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas... / This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions

This dissertation draws on contemporary philosophical and sociological approaches to trust and engages them in a dialog with literary, poetological, and philosophical texts from the nineteenth century. In doing so it seeks to explore both what other disciplines have to offer to literary studies with regard to the interpretation of trust as a literary motif, as well as to show how literary texts evoke compelling scenarios in which the conceptual and semantic complexities of the phenomenon of trust take on theatrical, rhetorical, and narrative forms that can both illustrate and challenge sociological or philosophical claims. Close readings of texts by Ludwig Tieck, Heinrich von Kleist, Franz Grillparzer, and Friedrich Nietzsche offer new interpretations of canonical texts and discuss the relationship of trust to aesthetics, cultural memory, mythography, and performativity.

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Leaving aside the classical world, Dance as an art form (as distinct from folk-dance) emerges with the renaissance. Combinations of dance and drama are seen in the court entertainments sponsored by Catherine de Medici in France and in the masques of Ben Jon-son, John Milton and Henry Lawes , the composer, in England. These dance-dramas shared the contemporary fondness for lavish sensuous spectacle, with mythological and allegorical subjects full of youth and beauty. The seventeenth century saw, in this new form of art, the development of stage and set-design as well as the emerging importance of the individual performer. The foundation of Richelieu's L 'Academie Française (1635) which concerned itself with language and literature was paralleled by Louis XIV's L'Academie Nationale de Musique et de la Danse (1661). The baroque and rococo characteristics of other arts are reflected in the ballets of Lully and Rameau. In the eighteenth century, theoretical works appear in which the dance is treated as parallel to the other arts. The Lettres sur la Danse (1760) of Jean-Georges Noverre (a friend of Garrick) stresses "nature" and design as do the literary treatises from Dryden to Samuel Johnson, (e.g. Dryden's An Essay of Dramatic Poesy (1668), Johnson's Preface to Shakespeare (1765), and Lives of the Poets (1779-81). Carlo Blasis' Treatise on the Art of Dancing (1803) is as much concerned with perfection of technique as the most ardent proso-dists of the period. The so-called "Classical Ballet", however, was the expression of romanticism at the beginning of the nineteenth century as much as in literature and the other arts. It sought to add strangeness and wonder to beauty and to escape from reality into fairyland or dreamland. It dominated ballet throughout most of the century and is seen in well-known works like Giselle, Swan Lake, and The Sleeping Beauty. Literary and artistic parallels abound, of course. However, the Dance is the last of the arts to develop a critical theory as it is the last of the arts to emerge as an aesthetically self-conscious, serious and professional form of expression from what had been vestigial and fragmentary. Even musical and dramatic renditions have left at least the score and the script. But the Dance, after its last performance, was largely a matter of fast-fading memory and variable hearsay. This thesis will endeavour to trace the development and changes in aesthetic outlook of the latter eighteenth and early nineteenth centuries through a comparative study of the writings of Jean-Georges Noverre, Heinrich von Kleist and Théophile Gautier. As far as one can judge from any available materials and sources of reference, bringing together these three writers whose work contains both literature and dance criticism, poetics and what might be called "balletics", has not been undertaken before; this is also the first time that Kleist has been given a significant place in a discussion of dance theory. It is the chief aim of this study to point out and elucidate the pattern of relationships between dance as an art form and literature. The relationships of theory and practice in the arts are no less complex here than in any other periods. Noverre, for example, as a theorist, was a consistent and articulate late eighteenth century classicist (looking forward to romanticism); but as a professional man of the theatre, he had a keen eye for popular taste, even if it catered to fashions he must have considered antiquated or cheap. Gautier, on the other hand, though he possessed no practical knowledge of the dance, he analyzed it so persuasively, so variously, and had such a wide audience that he strongly influenced the public taste for these aspects of romantic dance. It is doubtful whether Kleist was known to the world of dance, whether he was really influenced by it, or had any direct influence on it in any way. Yet, his essay Ueber das Marionettentheater (1801) might well serve as a manifesto for the new romantic form of dance when it was just being born. As a result of the analysis of these writers, it becomes apparent that all three, Noverre, Gautier, and Kleist, represent stepping-stones in the development of dance from the early stages of superficial extravaganzas, through the clearly defined measures of eighteenth century dance, to the natural expression of spontaneous movement in the next century. Hence, they can be said to define the basic progression from classicism to romanticism in the art of dance. / Arts, Faculty of / English, Department of / Graduate

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